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1
Okoro, Justice Chukwudi, and Festus Goziem Okubor. "Abigbo’s Identity in Music Making and Repertory of Songs: The Mbaise People’s Heritage." UJAH: Unizik Journal of Arts and Humanities 21, no. 2 (March 30, 2021): 170–94. http://dx.doi.org/10.4314/ujah.v21i2.9.
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This paper directs attention to Abigbo, an outstanding traditional music of Mbaise people of Igbo south, east of the Niger. It gears to interrupt and challenge willful observations by western-oriented music lovers’ derogatory opinion, contrary to music in traditional setting such as ‘Abigbo’. To realize this objective and prove wrong the ill-informed critics, ‘Abigbo’s uniqueness in song rendition and peculiarity in music making is conspicuously examined here as a case study. The origin and development of Abigbo, its uses, and relationship with other aspects of Mbaise culture are discussed in this work. The musical challenges are highlighted with the dance formation, movements/steps and the ensembles costumed critically analyzed. All these are essentially adumbrated in association with music making trends in contemporary Mbaise. Equally reviewed where applicable are Abigbo’s relevance and inevitable roles in achieving the goal of societal well being. Song communication supported with body language and phonic emission via vocals are equally matters of great interest here. Methods employed in the data collection are library source of information obtained from associated printed materials documented in the library shelves. The researcher consulted relevant ones, read through them during desk work, and use their extracts as backup information to the subject of discourse which he initiated. Few of the procured print media materials are equally paraphrased as and when due. Datum is also secured through participant observation. At this juncture, the researcher’s sense of sight and aural perceptions are actively utilized along with retentive memory with the view to capturing the salient points needed for the paper. A few literature reviews that border round music making in rural culture are altogether, examined to guide and back up the thrust of this discourse. Abigbo has proved its worth beyond all reasonable doubt during its performance presentation in Mbaise social culture. The musicians’ close attention to the masses, particularly the zealous ones who are inclined to get at African tribes’ traditional music to subject them to western notation is a spring board to its fame. At this juncture, we resolve that for music making through song communication to logically reign supreme in Abigbo, its practice by interested artistes should be enhanced and encouraged even beyond the ensemble’s environmental origin. This done helps to secure indigenous interest akin to norms and values within the fabric of Mbaise society.
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Thieme, Darius L., David Ames, and Cynthia Tse Kimberlin. "An Anthology of African Music. Nigeria III: Igbo Music." Ethnomusicology 36, no. 1 (1992): 137. http://dx.doi.org/10.2307/852093.
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Nnamani, Nnamani Sunday. "The Role of Folk Music in Traditional African Society: The Igbo Experience." Journal of Modern Education Review 4, no. 4 (April 20, 2014): 304–10. http://dx.doi.org/10.15341/jmer(2155-7993)/04.04.2014/008.
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Islam, Momtajul. "The Role of Native Weaknesses and Cultural Conflicts in Escalating Colonial Supremacy in the Igbo Society, as Perceived in Arrow of God by Chinua Achebe." International Linguistics Research 4, no. 2 (April 27, 2021): p19. http://dx.doi.org/10.30560/ilr.v4n2p19.
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The colonial invaders and their repressive means of governance in Africa were not the only reasons that could be solely held accountable for the fall of indigenous African society during the colonial invasion. Native weaknesses, socio-cultural conflicts and hegemony were equally responsible for the falling apart of native social setups when confronted with colonial alternatives. Native people had had their own covert religious and cultural limitations long before the colonizers entered their soil. The colonial powers cleverly used such inherent societal flaws of African people as excuses to impose European religion and traditions on them. Chinua Achebe does not blindly idealize native African traditions in his writings. He frequently narrates his doubts on flawed socio-cultural practices and moral dualities in the native society, too. This paper is an attempt to explore how innate weaknesses of native Igbo people, socio-cultural conflicts and domination in the native society have also made it easier for the colonial administration to prolong their supremacy in the Igbo land, as depicted in Arrow of God by Chinua Achebe. It also elaborates how Ezeulu, the chief priest of god Ulu, falls from dominance in his society because of his intent to execute personal desires which jeopardize his societal role in the Igbo land.
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Nwauwa, A. O. "The Dating of the Aro Chiefdom: A Synthesis of Correlated Genealogies." History in Africa 17 (January 1990): 227–45. http://dx.doi.org/10.2307/3171814.
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Precolonial African historiography has been plagued by historical reconstructions which remain in the realm of legend because events are suspended in almost timeless relativity.Igbo history has not been adequately researched. Worse still, the little known about the people has not been dated. It might be suggested that the major reason which makes the study of the Igbo people unattractive to researchers has been the lack of a proper chronological structure. Igbo genealogies have not been collected. The often adduced reason has been that the Igbo did not evolve a centralized political system whereby authority revolved round an individual—king or chief—which would permit the collection of regnal lists. Regrettably, Nigerian historians appear to have ignored the methodology of dating kingless or chiefless societies developed and applied elsewhere such as in east Africa. In west African history generally, there has been an overdependence for dating on external sources in European languages or in Arabic, and combining these with the main regnal list of a kingdom. Even within kingdoms, genealogies of commoners and officials have rarely been collected or correlated with the regnal lists. Among the Igbo, the external sources are rare and the regnal lists few. Even the chiefdoms—Onitsha and Aboh, Oguta and Nri—were ignored for a long time after modern historiography had achieved major advances elsewhere. Arochukwu has been another neglected Igbo chiefdom. Most of these states with hereditary leadership were peripheral to the Igbo heartland. Nevertheless, they were important because of their interactions with the heartland and the possibility of dating interactive events from their genealogies.
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Nnebedum, Chigozie. "Empirical Identity as Dimension of Development in Africa: With Special Reference to the Igbo Society of South-east of Nigeria." Mediterranean Journal of Social Sciences 9, no. 2 (March 1, 2018): 195–204. http://dx.doi.org/10.2478/mjss-2018-0039.
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Abstract Identity, as discussed in this paper, is seen as a phenomenon which is constantly changing under certain circumstances. From empirical point of view, the identity of man is influenced by the environment through experience and unconscious socialization; it is continually modified by the individual’s encounter with the world. The aim of this work is to analyse the intricacies involved in understanding the situation and mentality of the Igbos as far as identity is concerned and to determine how this hampers or helps in the development of the Igbo/African society. In this work ‘identity’ as a means of development with regard to the Igbo people of South-East Nigeria is treated. The work is methodically qualitative. It analyses literatures and different views on identity and tailors the discussion of development along the lines of hermeneutical approach to subjective experiences. The Igbos and Africans find themselves sometimes in the danger of a mixture of identity. This is the case with most of the Igbo people who are scattered all over the world and who are becoming more foreign in their trends and ways of life. Being unable to maintain a definite identity, one is lost in the politics of development. Those who still hang on to pure imitation of the western life are jeopardizing their autonomy and by extension, frustrating development of the African society. Rediscovering the Igbo/African Identity and putting it to the service of development in the African continent is the task of the Africans themselves.
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Majeed Kadhem, Suhaib. "Conflict between Tradition and Change in Chinua Achebe's postcolonial novel Things Fall Apart." Al-Adab Journal 1, no. 124 (September 15, 2018): 81–92. http://dx.doi.org/10.31973/aj.v1i124.115.
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In studying the history of Asian and African countries, the colonial period plays an important role in understanding their history, religion, tradition and culture. Things Fall Apart is an English novel by the Nigerian author Chinua Achebe, published in 1957, which shows the African culture, their religious and traditions through the Igbo society. This novel captures the colonial period and its effect on Igbo society. It is a response and a record of control of western colonialism on the traditional values of the African people. This paper treats the novel as a postcolonial text, by focusing on the clash between occupied and colonizers, the clash between tradition and change, and the clash between different cultures, The Europe Empire and the African natives
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van den Bersselaar, Dmitri. "Missionary Knowledge and the State in Colonial Nigeria: On How G. T. Basden became an Expert." History in Africa 33 (2006): 433–50. http://dx.doi.org/10.1353/hia.2006.0006.
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Between 1931 and 1937, the Anglican missionary G. T. Basden represented the Igbo people on the Nigerian Legislative Council. The Igbo had not elected Basden as their representative; he had been appointed by the colonial government. Basden's appointment seems remarkable. In 1923 the Legislative Council had been expanded to include seats for Unofficial Members, representing a number of Nigerian areas, with the expressed aim of increasing African representation on the Council. In selecting Basden the government went against their original intention that the representative of the Igbo area would be a Nigerian. However, the government decided that there was no “suitable” African candidate available, and that the appointment of a recognized European expert on the Igbo was an acceptable alternative. This choice throws light on a number of features of the Nigerian colonial state in 1930s, including the limitations of African representation and the definition of what would make a “suitable” African candidate.In this paper I am concerned with the question of how Basden became recognized as an expert by the colonial government and also, more generally, with the linkages between colonial administrations' knowledge requirements and missionary knowledge production. Missionary-produced knowledge occupied a central, but also somewhat awkward position in colonial society. On the one hand, colonial governments and missions shared a number of common assumptions and expectations about African peoples. On the other hand, there also existed tensions between missions and government, partly reflecting differing missionary and administrative priorities, which means that the missionary expert was not often recognized as such.
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Chuks, Madukasi, Francis. "Ozo Title: An Indigenous Institution In Traditional Religion That Upholds Patriarchy In Igbo Land South-Eastern Nigeria." International Journal of Social Sciences and Humanities Invention 5, no. 5 (May 3, 2018): 4640–52. http://dx.doi.org/10.18535/ijsshi/v5i5.02.
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In Igbo land, the institution of Ozo title has underpinnings of male chauvinism and often used by men to remind those who appear to be very forward of their subordinate place in the society. Among the Igbo people, the Ozo title is an indigenous institution that is regarded as a central aspect of African indigenous religious practice through which they engage questions about the meaning for life. Through an ethnographic study conducted in recent years, I propose to explore the origin of the Ozo title and the symbolic significance of this indigenous sacred institution with specific reference to its religious, cultural, political, ethical and social significance, a method by which the indigenous communities keeps in constant religious communication with their deities and ancestors. However, I propose to not only examine the various ways in which Ozo title as a sacred institution has been used by their initiates to mediate religious beliefs and practices in African religion, but to specifically focus on its members as agents or ambassadors of different communities. Through an evaluation of significant Igbo religious practices involving Ozo title as a sacred institution performed by initiated men only which upholds patriarchy, I wish to suggest that the Ozo title as a sacred institution has two significant and related functions. The first one is that it enables the initiates to bridge the gap between the visible and unseen world of the ancestors and thus making possible an Igbo understanding of those forces that are believed to control the destinies of man. Secondly, Ozo title as a sacred institution of the Igbo is believed to uphold and sustain the Igbo religious system, and a complex of traditional religious rituals which uphold the privileges of those men who have been initiated into the ancestral cult. This paper point to particular understandings of Ozo title as integral to African religion, and proposes to illustrate this through an examination of Traditional Igbo Religion through the mediation of Ozo title as a sacred institution as part of the broader socio-sacral order.
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Nwafor, Matthew Ikechukwu. "The living-dead (ancestors) among the Igbo-African people: An interpretation of Catholic sainthood." International Journal of Sociology and Anthropology 9, no. 4 (April 30, 2017): 35–42. http://dx.doi.org/10.5897/ijsa2017.0719.
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Zahid, Sazzad Hossain. "Cultural Diversity in Igbo Life: A Postcolonial Response to Chinua Achebe’s Arrow of God." International Journal of Social Sciences 5, no. 23 (June 20, 2021): 69–89. http://dx.doi.org/10.52096/usbd.5.23.5.5.
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In his book Chinua Achebe, David Caroll (1980) describes the novel Arrow of God as a fight for dominance both on the theological and political level, as well as in the framework of Igbo philosophy. In Critical Perspectives on Chinua Achebe (1990), famous Achebe critics C. L. Innes and Berth Lindforts consider Arrow of God as a novel with conflicting ideas and voices inside each community with the tensions and rivalries that make it alive and vital. Another profound scholar on Achebe Chinwe Christiana Okechukwu (2001) in Achebe the Orator: The Art of Persuasion in Chinua Achebe's Novels assesses Arrow of God, which depicts a community under imminent danger of cultural genocide unleashed by agents of Western imperialism who have recently arrived in the indigenous society. However, the author in this study attempts to see Arrow of God as a postcolonial response to cultural diversity that upholds its uniting and cohesive force in Nigerian Igbo life. The goal is to look at how Achebe, in response to misleading western discourses, develops a simplistic image and appreciation that persists in Igbo life and culture even as colonization takes hold. This paper also exhibits how the Igbo people share their hardships, uphold their age-old ideals, celebrate festivals, and even battle on disagreements. This study employs postcolonial theory to reconsider aspects of cultural diversity among the African Igbo people, which are threatened by the intervention of European colonialism in the name of religion, progress, and civilization.
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van den Bersselaar, Dmitri. "Creating ‘Union Ibo’: Missionaries and the Igbo language." Africa 67, no. 2 (April 1997): 273–95. http://dx.doi.org/10.2307/1161445.
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AbstractThe literature of ethnicity in Africa indicates a major role for Christian missionaries in the creation of languages in Africa. It has been argued that certain African ethnic groups owe their existence to the ‘invention’ of their language by missionaries who created a written dialect—based on one or more vernacular(s)—into which they translated the Bible. This language came to be used for education in mission schools and later also in government schools. The Bible dialect consequently became the accepted standard language of the ethnic group and acquired the function of one of the group's prime identity markers.In the case of the Igbo language, the history of the CMS missionaries' efforts at creating a written standard Igbo shows that the process was not always straightforward. The article describes the problematic process of creating a written language. The missionaries undertook continual attempts on the basis of several dialects, but it was half a century before they produced the first translation of the Bible. They complicated matters by working in different dialects, but eventually created a standard dialect which they named Union Ibo, a mixture based on several Igbo dialects.The missionaries were also confronted with resistance from at least part of the Igbo population, who contested their choice of dialect. However, it appears that the majority of the Igbo were simply not interested. The Igbo population were far more interested in education in English, and although the CMS missionaries forced some vernacular education upon the people, actual interest remained limited. It is thus not surprising that the Bible language did not become the accepted standard language of the Igbo ethnic group. The spoken Igbo language does nevertheless function as one of the prime identity markers of the group. The article argues that the importance of the Igbo language to Igbo identity is partly the result of the missionary activity.
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Salami, Ali, and Bamshad Hekmatshoar Tabari. "IGBO NAMING COSMOLOGY AND NAMESYMBOLIZATION IN CHINUA ACHEBE’S TETRALOGY." Folia linguistica et litteraria XI, no. 33 (2020): 39–61. http://dx.doi.org/10.31902/fll.33.2020.2.
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Things Fall Apart, No Longer at Ease, Arrow of God and A Man of the People, the first four novels by Chinua Achebe, the contemporary Nigerian novelist, are among the most outstanding works of African postcolonial literature. As a matter of fact, each of these four novels focuses on a different colonial or postcolonial phase of history in Nigeria and through them Achebe intends to provide an authentic record of the negative and positive impacts of ‘hybridity’ on different aspects of the life of native subjects. Briefly stated, Achebe is largely successful in taking advantages of variable discursive tools he structures based on the potentials of the hybrid, Igbo-English he adopts. Thus, it might be deduced that reading these four novels in line with each other, and as chains or sequels of Tetralogy, might result in providing a more vivid picture of the Nigerian (African) subjects and the identity crises emerging in them as a result of colonization. To provide an account of the matter, the present study seeks to focus on one of the discursive strategies Achebe relies on in those four novels: Igbo Naming Cosmology and Name-symbolization.
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Salami, Ali, and Bamshad Hekmatshoar Tabari. "IGBO NAMING COSMOLOGY AND NAMESYMBOLIZATION IN CHINUA ACHEBE’S TETRALOGY." Folia linguistica et litteraria XI, no. 33 (2020): 39–61. http://dx.doi.org/10.31902/fll.33.2020.2.
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Things Fall Apart, No Longer at Ease, Arrow of God and A Man of the People, the first four novels by Chinua Achebe, the contemporary Nigerian novelist, are among the most outstanding works of African postcolonial literature. As a matter of fact, each of these four novels focuses on a different colonial or postcolonial phase of history in Nigeria and through them Achebe intends to provide an authentic record of the negative and positive impacts of ‘hybridity’ on different aspects of the life of native subjects. Briefly stated, Achebe is largely successful in taking advantages of variable discursive tools he structures based on the potentials of the hybrid, Igbo-English he adopts. Thus, it might be deduced that reading these four novels in line with each other, and as chains or sequels of Tetralogy, might result in providing a more vivid picture of the Nigerian (African) subjects and the identity crises emerging in them as a result of colonization. To provide an account of the matter, the present study seeks to focus on one of the discursive strategies Achebe relies on in those four novels: Igbo Naming Cosmology and Name-symbolization.
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Afigbo, A. E. "The Spell of Oral History: A Case Study from Northern Igboland." History in Africa 33 (2006): 39–52. http://dx.doi.org/10.1353/hia.2006.0003.
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My case study is taken from the northern Igbo of Nigeria and focuses on the village-group of Ihuwe, which name is today rendered as Ihube— thanks to its Anglicization during the period of colonial rule. This not-withstanding, the people still call themselves “Ihuwe,” the form I use in this paper. The Northern Igbo area, especially the area around Awka, Orlu, and Okigwe, is commonly regarded as the heartland of Igbo culture and civilization. Ihuwe, in that portion of old Okigwe Division known today as Okigwe Local Government Area (LGA), lies in a region of southern Nigeria that has been identified as having witnessed human activity from very early times, at least from the period of Acheulean culture. It also lies on the geographically and historically prominent Nsukka-Udi-Okigwe cuesta, which archeology tells us entered the Iron Age quite early in African history, no later than about the eighth century BCE. We are thus dealing with one of the areas of ancient human occupation, as well as an area known for its dense demographic profile. It is these features–early human settlement and occupation with its attendant consequence of severely attenuated oral history, dense demographic profile, and being the cradle land of Igbo culture—that help to define the Northern Igbo and mark them out from the Western, Eastern, Southern, and North-Eastern Igbo, believed to be relatively more recent descendants from them.Perhaps another feature that calls for mention here is their political culture. Although, like their other Igbo kinsmen, they could boast of having evolved only micro-, and therefore weak, states (what social anthropologists of the colonial period refused to refer to as states), they had their own special model of these micro-states.
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Densu, Kwasi. "Omenala: Toward an African-Centered Ecophilosophy and Political Ecology." Journal of Black Studies 49, no. 1 (September 7, 2017): 29–52. http://dx.doi.org/10.1177/0021934717729503.
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This article seeks to contribute to the reconstruction of an African-centered ecophilosophy and political ecology. Employing Cheikh Anta Diop’s theory of African cultural unity, it considers the Ndi Igbo philosophy Omenala, its paradigmatic implications for Africana studies, and its capacity to demonstrate the continuity of indigenous African socioecological praxis cross culturally. In addition, it explores the relevance of Omenala to the development of an authentic social history of African people and as a theory to analyze contemporary problems in the African world. Three key issues are addressed. First, the article accounts for the absence of ecological theory within Africana studies. Second, it explicates the cultural and philosophical basis for an African-centered ecophilosophy and political ecology. Third, it envisions new approaches and areas of inquiry within Africana studies.
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Nnaemeka Onwuatuegwu PhD, Ignatius. "AN OVERVIEW OF THE IGBO COSMOLOGIC-ONTOLOGICAL CONCEPTION AND THE STRUCTURE OF THE WORLD: A PHILOSOPHICAL REFLECTION." International Journal of Advanced Research 9, no. 5 (May 30, 2021): 25–30. http://dx.doi.org/10.21474/ijar01/12803.
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Practically speaking, the way people understand reality (ontology) cuts across the nexus of their thought pattern, belief system and consequently their general attitude to life. Hence, ontology and cosmology are at the basis of Igbo conception of reality and also the spiritual and physical operations of the human world. It is an established fact that a traditional Igbo would like to hold tenaciously to the already established concepts by the Igbo forebears. Hence, any attempt at a critical analysis of these accepted concepts are quickly waved off with such statements as: it has been so and has to remain so. For the Igbo, it is morally wrong to question the wisdom of the ancestors. The wisdom of the ancestors is to be cherished, preserved and propagated to the future generations and not to be questioned or criticized. But materiality is part of reality. As such, neither the created beings nor the universe in general are static but rather dynamic. Dynamism is the natural condition of existence in the world of the moving and sensible reality. Hence, peoples concepts of reality should be necessarily subjected to constant evaluation and re-evaluation in order to ascertain their validity. Thus, the main purpose of this research is to challenge and encourage Igbo-African scholars to delve into many traditional concepts as to critically evaluate them either to discover the truth hidden in them or to make possible the attainment of certainty. However, the research adopts primarily the method of philosophical appraisal to reach to the goal of the research.
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Tembo, Nick Mdika. "Ethnic Conflict and the Politics of Greed Rethinking Chimamanda Adichie's." Matatu 40, no. 1 (December 1, 2012): 173–89. http://dx.doi.org/10.1163/18757421-040001011.
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The African continent today is laced with some of the most intractable conflicts, most of them based on ethnic nationalism. More often than not, this has led to poor governance, unequal distribution of resources, state collapse, high attrition of human resources, economic decline, and inter-ethnic clashes. This essay seeks to examine Chimamanda Ngozi Adichie's through the lens of ethnic conflict. It begins by tracing the history and manifestations of ethnic stereotypes and ethnic cleavage in African imaginaries. The essay then argues that group loyalty in Nigeria led to the creation of 'biafranization' or 'fear of the Igbo factor' in the Hausa–Fulani and the various other ethnic groups that sympathized with them; a fear that crystallized into a thirty-month state-sponsored bulwark campaign aimed at finding a 'final solution' to a 'problem population'. Finally, the essay contends that Adichie's anatomizes the impact of ethnic cleavage on the civilian Igbo population during the Nigeria–Biafra civil war. Adichie, I argue, participates in an ongoing re-invention of how Africans can extinguish the psychology of fear that they are endangered species when they live side by side with people who do not belong to their 'tribe'.
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Newell, Stephanie. "Remembering J. M. Stuart-Young of Onitsha, Colonial Nigeria: Memoirs, Obituaries and Names." Africa 73, no. 4 (November 2003): 505–30. http://dx.doi.org/10.3366/afr.2003.73.4.505.
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AbstractColonial Onitsha provided the stage for John Moray Stuart-Young (1881–1939), a Manchester trader and poet, to perform the role of an educated gentleman. In his autobiographical writing, Stuart-Young created a host of famous metropolitan friends and constructed for himself a past through which he invited African readers to remember him. The extent to which Onitsha citizens accepted his version of his life is explored in this article, for during the period of Stuart-Young's residence in town, from approximately 1909 until his death in 1939, different sectors of Igbo society observed him closely, read his publications, worked with him and witnessed his patronage of young men. Local people, including the children, studied his behaviour over time and produced a range of African names and watchwords by which they remembered his life.
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Kanu, Ikechukwu Anthony. "Igwebuike theology of Omenani and the missionary bifurcation of horizons." OGIRISI: a New Journal of African Studies 16 (October 2, 2020): 127–44. http://dx.doi.org/10.4314/og.v16i1.8.
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African theology points to the fact that every particular situation or context calls for a particular theological reflection, that is, if the theological reflection is to make meaning within that unique circumstance. It is within this context that Igwebuike theology of Omenani emerges in relation to the understanding of culture as the Seed of the Word of God, which already pre-existed in Africa even before the emergence of the Western missionaries. The purpose of adopting this idea of culture as the Seed of the Word of God is to enhance the reconciliation between the African and Christian/Western ’worldhoods’. This piece presented the African culture as an important element in evangelization in Africa, as it is the spirit that animates the African people. It, therefore, located the Seed of the Word of God in the Omenani (the law of the land) of the African people through which they were able to achieve holiness even before the advent of the gospel. It observed that the failures of the missionary enterprise were majorly because of their lack of openness to the African religion and culture. The purpose of this study is to bridge the bifurcation created by the missionaries between the Christian and African ‘worldhoods’. The theoretical framework employed in this research is the Igwebuike sympathetic and non-derogatory framework, which emphasizes evangelization with a sense of understanding.
Keywords: Omenani, Logos Spermatikos, Culture, African, Igbo, Evangelization, Igwebuike
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Adebayo, Akanmu G. "Currency Devaluation and Rank: The Yoruba and Akan Experiences." African Studies Review 50, no. 2 (September 2007): 87–109. http://dx.doi.org/10.1353/arw.2007.0077.
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Abstract:Jane Guyer has clearly demonstrated in Marginal Gains (2004) that the ranking of people historically was linked to quantitative scales of money. Guyer's study focuses on the Igbo and Ibibio, two societies in which ranking was by achievement rather than ascription. How do ranking and money interface in other African societies with strong monarchical or centralized social systems? What impact does currency instability have on rank in such societies? This paper examines these questions. Focusing on the Yoruba of Nigeria and the Akan of Ghana, it evaluates the degree to which ranking has been affected by currency devaluation and economic instability since the mid-1980s.
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LAW, ROBIN. "Ali-Ogba: A History of Ogba People. By FRANCIS J. ELLAH. Enugu: Fourth Dimension Publishing Co., 1995. Pp. xiv + 226. $18.00; £9.95 (ISBN 978-156-400-8). (Distributed by African Books Collective, The Jam Factory, 27 Park End Street, Oxford OX1 1HU.)." Journal of African History 38, no. 1 (March 1997): 123–77. http://dx.doi.org/10.1017/s0021853796496906.
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The Ogba are an Igbo-speaking group, situated in the extreme south-west of the Igbo area, in the modern Rivers State of Nigeria (though the maps in this book, which depict only the Ogba country itself, do not convey a very clear sense of its location). This history of the community, written by its current Eze (king), sets out to cover the entire sweep of its history, from ‘the origin of the Ogbas’ (attributed to the fourteenth century) to the colonial period (post-independence history being treated only cursorily). It is based mainly on local oral traditions, taken partly from colonial Intelligence Reports, but also including extensive new material collected by the author; some use is also made, for the colonial period, of contemporary documents from British and Nigerian archives, and for prehistory, of archaeological evidence.
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de Lerma, Dominique-Rene, and Rainer E. Lotz. "Black People: Entertainers of African Descent in Europe and Germany." Notes 55, no. 1 (September 1998): 120. http://dx.doi.org/10.2307/900373.
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Marx, Shirley. "A Zimbabwean mbira: a Tradition in African Music and its Potential for Music Education." British Journal of Music Education 7, no. 1 (March 1990): 25–42. http://dx.doi.org/10.1017/s026505170000749x.
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This article aims to encourage the provision of the Zimbabwean mbira dzavadzimu in schools as a means of experiencing a novel musical system. It provides an outline of the mbira's cultural context within an oral tradition. The basic structure of the mbira pattern is abstracted and represented by four types of notation which makes the music accessible to a range of people. However, the characteristic ‘inherent rhythms’ that emerge kaleidoscopically from patterns and variations throughout performance give the music an elusive quality, the dimensions of which cannot be captured in staff notation. The simplicity of the separate components of a composition can be individually explored on a variety of instruments, while the resultant combination of its interlocking melodic lines is one of complexity and ever-shifting musical images. The mbira introduces a new aesthetic into the classroom and is ideal for both solo and ensemble playing.
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Lebaka, Morakeng E. K. "Misconceptions About Indigenous African Music and Culture: the Case of Indigenous Bapedi Music, Oral Tradition and Culture." European Journal of Social Sciences 2, no. 2 (May 30, 2019): 18. http://dx.doi.org/10.26417/ejss-2019.v2i2-61.
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Indigenous Bapedi music and oral tradition have been dismissed as myth, superstition and primitive stories. Such dismissal has been based on the misconception and assumption that indigenous Bapedi music and oral tradition are proletarian, steeped in evil religious experiences and unacceptable for worship. In Bapedi society, indigenous music and traditional oral stories are utilized to buttress and demonstrate the collective wisdom of Bapedi people, as well as to transmit Bapedi culture, values, beliefs and history from generation to generation. This article examines misconceptions about indigenous Bapedi music and traditional oral stories. It argues that indigenous Bapedi music and oral tradition should not be dismissed at face value as practices overtaken by circumstances and hence irrelevant to the present Bapedi community developmental needs. The findings of the present study faithfully reflect that indigenous Bapedi songs and traditional oral stories resonate in people’s personal lives, in religious rituals and in society at large. These findings suggest that Bapedi people should keep and perpetuate their valuable heritage, which is still needed for survival and for the welfare of our next generation. The main question the study addressed is: What role do indigenous Bapedi music and oral tradition play in Bapedi culture?
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Ryan, Maria. "“The influence of Melody upon man in the wild state of nature”: Enslaved Parishioners, Anglican Violence, and Racialized Listening in a Jamaica Parish." Journal of the Society for American Music 15, no. 3 (August 2021): 268–86. http://dx.doi.org/10.1017/s1752196321000171.
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AbstractIn 1827, George Wilson Bridges, the outspoken proslavery rector of the parish of St. Ann, Jamaica, published a pamphlet of music that he had written to be used as the choral service at his church. The Bishop of Jamaica condemned Bridges's musical innovations on the grounds that they were not suitable to be heard by “a congregation chiefly composed by people of colour & negroes.” On the Bishop's orders, Bridges's music stopped, and by 1828 he reported that his pews were once more empty. The congregation of St. Ann parish church was almost entirely enslaved Africans and Afro-descendants who could choose their place of worship. However, in Bridges's own household, the people he claimed as property had little opportunity to escape his ministering. In 1829 Bridges came to the attention of British abolitionists for his brutal flogging of Kitty Hylton, a woman he claimed to own. This article uses Black feminist approaches to archival materials to explore the relationship between the music promoted by Bridges, conflicting views held by white religious leaders about what music was appropriate for African and African-descended people to listen to, and Bridges's violence towards enslaved people; in so doing exploring the inescapable entanglement of religious music, race, and violence in colonial Jamaica.
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Joseph, Dawn, and Kay Hartwig. "Promoting African Music and enhancing intercultural understanding in Teacher Education." Journal of University Teaching and Learning Practice 12, no. 2 (April 1, 2015): 108–21. http://dx.doi.org/10.53761/1.12.2.8.
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Australia is a culturally diverse nation. The Arts provide a pathway that contributes to the rich tapestry of its people. Tertiary music educators have the responsibility to provide opportunities to effectively prepare and engage pre-service teachers in becoming culturally responsive. The authors discuss the importance and need to include guest music educators as culture bearers when preparing pre-service teachers to teach multicultural music. Drawing on data from student questionnaires, author participant observation and reflective practice in 2014, the findings highlight the experiences and practical engagement of an African music workshop in teacher education courses. Generalisations cannot be made, however, the findings revealed the need, importance and benefits of incorporating guest music educators as culture bearers who have the knowledge, skills and understandings to contribute to multicultural music education. This experience may be similar to other educational settings and it is hoped that the findings may provide a platform for further dialogue in other teaching and learning areas.
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Vuoskoski, Jonna K., Eric F. Clarke, and Tia DeNora. "Music listening evokes implicit affiliation." Psychology of Music 45, no. 4 (December 15, 2016): 584–99. http://dx.doi.org/10.1177/0305735616680289.
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Recent empirical evidence suggests that – like other synchronized, collective actions – making music together with others fosters affiliation and pro-social behaviour. However, it is not yet known whether these effects are limited to active, interpersonal musical participation, or whether solitary music listening can also produce similar effects. This study examines the hypothesis that listening to music from a specific culture can evoke implicit affiliation towards members of that culture more generally. Furthermore, we hypothesized that listeners with high trait empathy would be more susceptible to the effects. Sixty-one participants listened to a track of either Indian or West African popular music, and subsequently completed an Implicit Association Test measuring implicit preference for Indian versus West African people. A significant interaction effect revealed that listeners with high trait empathy were more likely to display an implicit preference for the ethnic group to whose music they were exposed. We argue that music has particular attributes that may foster affective and motor resonance in listeners.
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Chukwu, Christian Chima, and Ignatius Sunday Ume. "Celebration of childbirth through dance and the demystification of the male child in the Igbo Patriarchal Society: A decisive exposition." Revista Brasileira de Gestão Ambiental e Sustentabilidade 7, no. 15 (2020): 191–209. http://dx.doi.org/10.21438/rbgas(2020)071514.
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Celebration of childbirth, among the Igbo, is looked upon as an occasion of feasting and so every festal feature, especially good music is made available as a mark of thanksgiving to God. The birth of a new child is announced with a special kind of song called irri muo, and it is sung in celebration of the birth. Songs sung at childbirth are called umanwa, while in neighbouring communities, they are egwu omugho. Umanwa music is exclusively performed by women, and has survived until today in its original form through oral tradition. This paper, therefore, examines the celebration of childbirth through dance and the demystification of the male child in the Igbo Patriarchal Society. Among the findings, the paper acknowledges that there is always some excitement, merriment, joy and intoxication, mixed with some sparks of faith when the new entrant is added to a household. In addition, the paper recognizes that women are never fully recognized as mothers until the birth of a boy child. Disturbing as the preference is, this paper wonders and questions why women are being easily ridiculed, subjugated and divorced when and where the Y-chromosome, the sole determinant of the birth of the boy child is the exclusive preserve of the male gender. With this, the paper argues that since human personality, a prerogative and quality of every human being does not rest on gender, but on ability; the emphasis on the boy child is absolutely unnecessary because it does not add anything to ability. The paper further calls on the educated elite to enlighten their people to be aware that the dignity of the girl child is fundamentally, essentially and unquestionably equal to the dignity of the boy child. Finally, the paper concludes that, the male child has not in most cases fulfilled the long awaited expectations of being the second father in the house.
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Turner, Diane. "Black Music Traditions of Central Avenue." Practicing Anthropology 20, no. 1 (January 1, 1998): 21–24. http://dx.doi.org/10.17730/praa.20.1.b06g13202633r087.
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Because of the early development of an African American community on Central Avenue, the city of Tampa, Florida provides an excellent environment to document Black music traditions in the southeastern region of the United States. By the late nineteenth century, an urban Black working class had formed on Central Avenue. Black musicians were part of a distinct cultural community, including divergent lifestyles, which were organically linked to the rural and urban life experiences of Black people in the United States and the Caribbean.
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Langlois, Tony. "The local and global in North African popular music." Popular Music 15, no. 3 (October 1996): 259–73. http://dx.doi.org/10.1017/s0261143000008266.
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On 29 September 1994, Cheb Hasni, the most renowned Rai singer living in Algeria, was gunned down outside his family's house in Gambetta, a quarter of the city of Waharan (Oran). He was one of many public figures (and some 50,000 others) who have been killed since the main opposition political party, the FIS (Islamic Salvation Front) was prevented from assuming power by the annulment of elections that they would have won in 1991. Like the most notable of Algeria's victims of violence, which include journalists, lawyers, doctors, television presenters and top policemen, Hasni represented a version of Algerian identity that some people clearly could not tolerate. Responsibility for his assassination has not been claimed, but the manner of his death was identical to others carried out by the armed faction of the fundamentalist Islamic movement, the GIA (Armed Islamic Group). His death has possibly marked the demise of a genre of North African popular music known as Rai as it was produced in Algeria. Rai has been a particularly problematic idiom for Islamists and secularists alike. Both groups nurture distinct views of the place of Algeria, and Algerians in the world, and the role of Islam and liberal secularism in Algeria. Rai music constructs its own distinct trajectories linking local and global, ‘East’ and ‘West’, and, in this way, constitutes a distinct problem for Algerians, and indeed other North Africans today.
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Frishkopf, Michael. "West African Polyrhythm: culture, theory, and representation." SHS Web of Conferences 102 (2021): 05001. http://dx.doi.org/10.1051/shsconf/202110205001.
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In this paper I explicate polyrhythm in the context of traditional West African music, framing it within a more general theory of polyrhythm and polymeter, then compare three approaches for the visual representation of both. In contrast to their analytical separation in Western theory and practice, traditional West African music features integral connections among all the expressive arts (music, poetry, dance, and drama), and the unity of rhythm and melody (what Nzewi calls “melo-rhythm”). Focusing on the Ewe people of south-eastern Ghana, I introduce the multi-art performance type called Agbekor, highlighting its poly-melo-rhythms, and representing them in three notational systems: the well-known but culturally biased Western notation; a more neutral tabular notation, widely used in ethnomusicology but more limited in its representation of structure; and a context-free recursive grammar of my own devising, which concisely summarizes structure, at the possible cost of readability. Examples are presented, and the strengths and drawbacks of each system are assessed. While undoubtedly useful, visual representations cannot replace audio-visual recordings, much less the experience of participation in a live performance.
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O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (May 14, 2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.
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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.
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Okafor, Eddie E. "Francophone Catholic Achievements in Igboland, 1883-–1905." History in Africa 32 (2005): 307–19. http://dx.doi.org/10.1353/hia.2005.0020.
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When the leading European powers were scrambling for political dominion in Africa, the greatest rival of France was Britain. The French Catholics were working side by side with their government to ensure that they would triumph in Africa beyond the boundaries of the territories already annexed by their country. Thus, even when the British sovereignty claim on Nigeria was endorsed by Europe during the Berlin Conference of 1884-85, the French Catholics did not concede defeat. They still hoped that in Nigeria they could supplant their religious rivals: the British Church Missionary Society (CMS) and the other Protestant missionary groups. While they allowed the British to exercise political power there, they took immediate actions to curtail the spread and dominion of Protestantism in the country. Thus some of their missionaries stationed in the key French territories of Africa—Senegal, Dahomey, and Gabon—were urgently dispatched to Nigeria to compete with their Protestant counterparts and to establish Catholicism in the country.Two different French Catholic missions operated in Nigeria between 1860s and 1900s. The first was the Society of the African Missions (Société des Missions Africaines or SMA), whose members worked mainly among the Yoruba people of western Nigeria and the Igbos of western Igboland. The second were the Holy Ghost Fathers (Pères du Saint Esprit), also called Spiritans, who ministered specifically to the Igbo people of southeastern Nigeria. The French Catholics, the SMA priests, and the Holy Ghost Fathers competed vehemently with the British Protestants, the CMS, for the conversion of African souls. Just as in the political sphere, the French and British governments competed ardently for annexation and colonization of African territories.
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Buis, Johann. "Black American Music and the Civilized-Uncivilized Matrix in South Africa." Issue: A Journal of Opinion 24, no. 2 (1996): 28–30. http://dx.doi.org/10.1017/s0047160700502327.
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In a recent article by Veit Erlmann in the South African journal of musicology (SAMUS vol. 14, 1995) entitled “Africa Civilized, Africa Uncivilized,” Erlmann draws upon the reception history of the South African Zulu Choir’s visit to London in 1892 and the Ladysmith Black Mambazo presence in Paul Simon’s Graceland project to highlight the epithet “Africa civilized, Africa uncivilized.” Though the term was used by the turn of the century British press to publicize the event, the slogan carries far greater impact upon the locus of the identity of urban black people in South Africa for more than a century.
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Sibanda, Fortune, and Tompson Makahamadze. "'Melodies to God': The Place of Music, Instruments and Dance in the Seventh Day Adventist Church in Masvingo Province, Zimbabwe." Exchange 37, no. 3 (2008): 290–309. http://dx.doi.org/10.1163/157254308x311992.
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AbstractThis paper examines the type of music played in the Seventh Day Adventist churches in Masvingo Province, Zimbabwe. Although the Seventh Day Adventist Church in general allows the use of instruments and dance in worship, the Seventh day Adventist churches in Masvingo condemns such practices. Their music is essentially a capella. The paper contends that such a stance perpetuates the early missionary attitude that tended to denigrate African cultural elements in worship. It is argued in this paper that instrumental music and dance enriches African spirituality and that the Seventh Day Adventist Churches in Masvingo should incorporate African instruments and dance to a certain extent if they are to make significant impact on the indigenous people. It advocates mission by translation as opposed to mission by diffusion.
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DJEDJE, JACQUELINE COGDELL. "The (Mis)Representation of African American Music: The Role of the Fiddle." Journal of the Society for American Music 10, no. 1 (February 2016): 1–32. http://dx.doi.org/10.1017/s1752196315000528.
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AbstractDuring the early twentieth century, research on African American music focused primarily on spirituals and jazz. Investigations on the secular music of blacks living in rural areas were nonexistent except for the work of folklorists researching blues. Researchers and record companies avoided black fiddling because many viewed it not only as a relic of the past, but also a tradition identified with whites. In the second half of the twentieth century, rural-based musical traditions continued to be ignored because researchers tended to be music historians who relied almost exclusively on print or sound materials for analyses. Because rural black musicians who performed secular music rarely had an opportunity to record and few print data were available, sources were lacking. Thus, much of what we know about twentieth-century black secular music is based on styles created and performed by African Americans living in urban areas. And it is these styles that are often represented as the musical creations for all black people, in spite of the fact that other traditions were preferred and performed. This article explores how the (mis)representation of African American music has affected our understanding of black music generally and the development of black fiddling specifically.
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Miller, Doug. "The moan within the tone: African retentions in rhythm and blues saxophone style in Afro-American popular music." Popular Music 14, no. 2 (May 1995): 155–74. http://dx.doi.org/10.1017/s0261143000007418.
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The tenor is a rhythm instrument and the best statements negroes have made of what their soul is have been on tenor saxophone. Now you think about it and you'll see I'm right. The tenor's got that thing, that honk, you can get to people with it. Sometimes you can be playing that tenor and I'm telling you the people want to jump across the rail. (Ornette Coleman)
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Rodríguez-Bailón, Rosa, Josefa Ruiz, and Miguel Moya. "The Impact of Music on Automatically Activated Attitudes: Flamenco and Gypsy People." Group Processes & Intergroup Relations 12, no. 3 (April 17, 2009): 381–96. http://dx.doi.org/10.1177/1368430209102849.
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The two studies reported in this article agree in demonstrating that activating a positive side of the stereotype of a traditionally prejudiced group could be a useful strategy to improve the implicit attitude toward that group. The goal of the current research was to explore whether activating the present association between Flamenco music and Gypsy people would decrease the negative view of this group in Spain, using the IAT measure. In the first study, when a stereotype-consistent but positive feature of Gypsies (i.e. Flamenco music) was used as a positively valued attribute in the IAT measure, the IAT effect was lower than when a different positive stimulus was used (classical music clips). The findings of Study 2 showed that for the North African community—another highly discriminated group in Spain—the use of Flamenco or classical music clips did not have any effect on the implicit attitudes of participants toward them. The implications for attitudes toward discriminated groups and the use of music to improve intergroup relationships are discussed.
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Weisenfeld, Judith. "“The Secret at the Root”: Performing African American Religious Modernity in Hall Johnson's Run, Little Chillun." Religion and American Culture: A Journal of Interpretation 21, no. 1 (2011): 39–79. http://dx.doi.org/10.1525/rac.2011.21.1.39.
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AbstractFrancis Hall Johnson's (1888–1970) work to preserve and promote Negro spirituals places him among the twentieth century's most influential interpreters of African American religious music. Johnson was most closely associated with Marc Connelly's 1930 Pulitzer Prize-winning play, The Green Pastures, for which he served as musical arranger and choral conductor. His participation in this production, which became a lightning rod for discussions about the nature of black religious thought, made him sharply aware of the complex terrain of popular culture representations of African American religious life for the consumption of white audiences. This article examines Johnson's 1933 “music-drama,” Run, Little Chillun, through which he hoped to counter the commonly deployed tropes of African Americans as a simple, naturally religious people. Moderately successful on Broadway, the production did particularly well when revived in California in 1938 and 1939 as part of the Federal Theatre and Federal Music projects.Most critics found Johnson's presentation of black Baptist music and worship to be thrillingly authentic but were confused by the theology of the drama's other religious community, the Pilgrims of the New Day. Examining Johnson's Pilgrims of the New Day in light of his interest in Christian Science and New Thought reveals a broader objective than providing a dramatic foil for the Baptists and a platform for endorsing Christianity. With his commitment to and expertise with vernacular forms of African American religious culture unassailable, Johnson presented a critique of the conservative tendencies and restrictive parochialism of some black church members and leaders and insisted on the ability of the individual religious self to range freely across a variety of spiritual possibilities. In doing so, he presented “the secret at the root” of black culture as not only revealing the spiritual genius of people of African descent but also as offering eternal and universal truths not bound by race.
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Cashner, Andrew A. "Imitating Africans, Listening for Angels." Journal of Musicology 38, no. 2 (2021): 141–82. http://dx.doi.org/10.1525/jm.2021.38.2.141.
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Church ensembles of Spaniards across the Spanish Empire regularly impersonated African and other non-Castilian characters in the villancicos they performed in the Christmas Matins liturgy. Although some scholars and performers still mistakenly assume that ethnic villancicos preserve authentic Black or Native voices, and others have critiqued them as Spaniards’ racist caricatures, there have been few studies of the actual music or of specific local contexts. This article analyzes Al establo más dichoso (At the happiest stable), an ensaladilla composed by Juan Gutiérrez de Padilla for Christmas 1652 at Puebla Cathedral. In this performance his ensemble impersonated an array of characters coming to Christ’s mangers, including Indian farm laborers and African slaves. The composer uses rhythm to differentiate the speech and movement of each group, and at the climax he even has the Angolans and the angels sing together—but in different meters. Based on the first edition of this music, the article interprets this villancico within the social and theological context of colonial Puebla and its new cathedral, consecrated in 1649. I argue that through this music, members of the Spanish elite performed their own vision of a hierarchical and harmonious society. Gutiérrez de Padilla was himself both a priest and a slaveholder, and his music elevates its characters in certain ways while paradoxically also mocking them and reinforcing their lowly status. Building on Paul Ricoeur’s concept of the “three worlds of the text,” the article compares the representations imagined within the musical performance with archival evidence for the social history of the people represented and the composer’s own relationships with them (the world behind the text). Looking to the world projected “in front of” the text, I argue that these caricatured representations both reflected and shaped Spaniards’ attitudes toward their subjects in ways that actively affected the people represented. At the same time, I argue that Spanish representations mirrored practices of impersonation among Native American and African communities, especially the Christmastide Black Kings festivals, pointing to a more complex and contradictory vision of colonial society than what we can see from the slaveholder’s musical fantasy alone.
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Jafri, Shadan. "Music of Survival: A Search for Identity in the Works of Richard Wright." SMART MOVES JOURNAL IJELLH 9, no. 8 (August 28, 2021): 1–8. http://dx.doi.org/10.24113/ijellh.v9i8.11147.
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The complexly changing nature of American life and the vigorous versatility and all-encompassing spread of the written record are the marks of American literature. Social forces always make their imprint on literature. Especially in America where the democratic processes bring the people into immediate familiarity with and sensitive response to cultural forces, the literature has responded quickly to such pressures. African American literature consists of the literary work by the writers of Afro-origin settled in USA. The category“ slave narratives” were writings by people who had experienced slavery. It described their journeys to independence and their survival struggles. The concepts explored and issues raised were racism, slavery, and social equality.
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Swart, Inette. "Benefits of music education to previously disadvantaged South African learners: Perspectives of music teachers in the greater Tshwane Metropolis." International Journal of Music Education 38, no. 1 (October 3, 2019): 52–65. http://dx.doi.org/10.1177/0255761419868151.
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This article focuses on the role of access to music education as an agent of social change and as an important way of empowering previously disadvantaged learners, putting this forward as an argument against the proposed downscaling of music in schools as advocated by the government. This narrative inquiry shed light on the perceptions of participating teachers associated with various music programs in the same larger geographical area on the benefits of music education to learners, including instilling discipline and a sense of purpose, general academic improvement, opportunities for social connection, creating opportunities for income generation and future employment, providing role models for children who often came from broken families, and safety and keeping children off the streets, to name but a few. Innovations necessitated by resource allocation constraints are perceived by participating teachers to include sharing a limited number of instruments, teaching in groups, converting general facilities into teaching venues and finding creative ways of teaching theory. The sustainability of these programs is perceived by participating teachers to depend on feeder programs, former students qualifying as teachers, and support and donations from one or more outside sources. It is argued that it is necessary to heed the voices of previously disadvantaged people who are now benefiting from improved access to opportunities and to listen to their opinions about the advantages of music education.
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K.M., Isaac, and Emmanuel O.A. "Rejection of Indigenous Music? Reflections of Teaching and Learning of Music and Dance in Tamale International School." African Journal of Social Sciences and Humanities Research 4, no. 2 (May 19, 2021): 74–86. http://dx.doi.org/10.52589/ajsshr-muuuijwv.
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Culturally responsive teaching and learning in schools creates an engaging and accessible learning environment that ensures continuity in the traditions of the people. One of the aspects of culture which engages students effectively in the learning process is music and dance. However, the instructional delivery of Music and Dance in Tamale International School scarcely includes the indigenous music content to a broader perspective. The paper was an investigation to find out how music and dance was taught in Tamale International School. It also highlights the attitudes of students towards the teaching and learning of Music and Dance. Using the cultural theory of Education as the theoretical framework, and a case study research design, participants were drawn from the pupils, the music teacher as well as the headteacher of the school. Interview and observation were the main instruments for the data collection. It was revealed that teaching of music and dance in the Tamale International School was a problem due to the fact that the school is one of the Western colonized schools with much historical orientation on Western music thereby relegating African music to the background. Attitudes of pupils towards the study of African music component of the music and dance syllabus being negative due to their religious background and the orientation received from their parents. Situated within the cultural education theory, the paper concludes that when students are given the opportunity to learn traditional music very often at school, it will help them to know theirs as Africans and embrace it in spite of their orientations from their religious background.
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Davila, Carl. "Music and Social Institutions: al-Maʾlūf and al-Āla." International Journal of Middle East Studies 44, no. 4 (October 12, 2012): 785–86. http://dx.doi.org/10.1017/s002074381200089x.
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Music is not only an art form defined by certain formal elements, such as rhythmic and melodic modes. It is also a cultural form that implies significant social interaction. Music naturally evokes deeply felt emotions and can touch upon important social identities, because it helps people to experience feelings and express insights into their own lives. Moreover, the fact that it is performed situates any given musical genre within a specific set of sociocultural frames. Unpacking the social, economic, and political contexts surrounding musical genres can deepen our understanding of larger processes at work. An obvious North African example is Rai music, whose explosion in popularity in the 1980s underscored very important social and economic transformations taking place in Algeria and among migrant Algerian communities in France.
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Shepler, Susan. "Youth music and politics in post-war Sierra Leone." Journal of Modern African Studies 48, no. 4 (November 4, 2010): 627–42. http://dx.doi.org/10.1017/s0022278x10000509.
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ABSTRACTThe brutal, eleven-year long civil war in Sierra Leone has been understood by many scholarly observers as ‘a crisis of youth’. The national elections of 2007 were notable for an explosion of popular music by young people directly addressing some of the central issues of the election: corruption of the ruling party and lack of opportunities for youth advancement. Though produced by youth and understood locally as youth music, the sounds were inescapable in public transport, markets, and parties. The musical style is a combination of local idioms and West African hip-hop. The lyrics present a young people's moral universe in stark contrast to that of their elders. This paper addresses the themes of these election-focused songs as well as the emerging subaltern youth identity discernible in supposedly less political songs.
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Adedeji, Femi. "Singing and Suffering in Africa A Study of Selected Relevant Texts of Nigerian Gospel Music." Matatu 40, no. 1 (December 1, 2012): 411–25. http://dx.doi.org/10.1163/18757421-040001027.
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A major aspect of African music which has often been underscored in Musicological studies and which undoubtedly is the most important to Africans, is the textual content. Its significance in African musicology is based on the fact that African music itself; whether traditional ethnic, folk, art or contemporary, is text-bound and besides, the issue of meaning 'what is a song saying?' is paramount to Africans, whereas to Westerners the musical elements are more important. This is why the textual content should be given more priority. In terms of the textual content, Nigerian gospel music, an African contemporary musical genre which concerns itself with evangelizing lost souls, is also used as an instrument of socio-political and economic struggle. One of the issues that have been prominent in the song-texts is the suffering of the masses in Africa. This essay aims at taking a closer look at the selected relevant texts in order to interpret them, determine their message, and evaluate their claims and veracity. Using ethnomusicological, theological, and literary-analytical approaches, the essay classifies the texts into categories, finding most of the claims in the texts to be true assessments of the suffering conditions of the Nigerian masses. The essay concludes by stressing the need to pay more attention to the voice of the masses through gospel artists and for people in the humanities to work energetically towards fostering permanent solutions to the problem of suffering in Africa in general.
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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.
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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.
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Taranger, Angela. "Multiple Meanings: The Role of Black Gospel in an Interracial and Multi-Ethnic Edmonton Church." Canadian University Music Review 19, no. 2 (March 1, 2013): 61–69. http://dx.doi.org/10.7202/1014447ar.
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This paper examines the process by which Black gospel music (performed according to aesthetic standards determined by African Americans) has become a site of meaning for both Black and White congregants at Edmonton Community Worship Hour, a church with an interracial and multi-ethnic ministry. Certain "transformations" (or "inversions") are at play in the conceptual systems of the people who attend; each individual has disparate, though intersecting, webs of meaning which become operational in a cross-cultural setting, relating to: the music itself, the method of worship, and the interpersonal relationships of the church's Black majority and White minority.
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Muller, Carol A. "Why Jazz? South Africa 2019." Daedalus 148, no. 2 (April 2019): 115–27. http://dx.doi.org/10.1162/daed_a_01747.
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I consider the current state of jazz in South Africa in response to the formation of the nation-state in the 1990s. I argue that while there is a recurring sense of the precarity of jazz in South Africa as measured by the short lives of jazz venues, there is nevertheless a vibrant jazz culture in which musicians are using their own studios to experiment with new ways of being South African through the freedom of association of people and styles forming a music that sounds both local and comfortable in its sense of place in the global community. This essay uses the words of several South African musicians and concludes by situating the artistic process of South African artist William Kentridge in parallel to jazz improvisation.