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Journal articles on the topic 'Miriam Makeba'

Author: Grafiati

Published: 3 June 2025

Last updated: 1 August 2025

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1

Allen, Lara. "Remembering Miriam Makeba." Journal of Musical Arts in Africa 5, no. 1 (2008): 89–90. http://dx.doi.org/10.2989/jmaa.2008.5.1.6.789.

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2

Hellner, Nancy. "Review: Makeba: My Story by Miriam Makeba and James Hall." Explorations in Ethnic Studies ESS-11, no. 1 (1991): 39–40. http://dx.doi.org/10.1525/ess.1991.11.1.39.

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3

Correa, Silvio Marcus de Souza. "O brinco de Makeba: da figura guardiã de um relicário Kota a signo panafricano." África, no. 45 (November 12, 2024): e227049. https://doi.org/10.11606/issn.2526-303x.i45pe227049.

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During the Banlieues Bleues Jazz Festival (1989), in Saint-Denis (France), photographer Guy Le Querrec immortalized a meeting between Miriam Makeba (1932-2008) and Nina Simone (1933-2003). If the Studium of photography (Barthes, 1980) is a kiss that seals the meeting of two friends, two divas of the black music and Pan-Africanism, her Punctum is Makeba's earring. The South African singer's earring reproduces in miniature the Kota reliquary guardian figure. De-sacralized, the figure became an ear ornament, no longer a funerary figure but an African sign. Based on the reproduction and social cir

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4

Mouity-Nzamba, Michaël. "Miriam Makeba : une vie au service d'un art engagé." Bulletin de l'Institut Pierre Renouvin 40, no. 2 (2014): 111. http://dx.doi.org/10.3917/bipr.040.0111.

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5

Sizemore-Barber, April. "The Voice of (Which?) Africa: Miriam Makeba in America." Safundi 13, no. 3-4 (2012): 251–76. http://dx.doi.org/10.1080/17533171.2012.715416.

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6

Hashachar, Yair. "Playing the backbeat in Conakry: Miriam Makeba and the Cultural Politics of Sékou Touré's Guinea, 1968–1986." Social Dynamics 43, no. 2 (2017): 259–73. https://doi.org/10.1080/02533952.2017.1364467.

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This article revisits the cultural history of Guinea in the three decades following independence through focusing on the musical activity of Miriam Makeba, the exiled South African singer who resided in the country between the years 1968 and 1986. Recent scholarship has illuminated the vast investment of the Guinean state in developing modern national culture as part of the process of decolonisation as well as the limited freedom of expression, imposed by the state, that subjugated local cultural production. While these studies have concentrated primarily on Guinean cultural agents, this paper

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7

Bethlehem, Louise. "Restless Itineraries: Antiapartheid Expressive Culture and Transnational Historiography." Social Text 36, (3 [136]) (2018): 47–69. https://doi.org/10.1215/01642472-6917766.

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This article sets the itineracy of antiapartheid expressive culture to work in relation to exiled South African jazz singer Miriam Makeba. It revisits accounts of transnational cultural circulation on the part of Rob Nixon, Paul Gilroy, and others to argue that the diffusion of South African cultural formations outward from South Africa offers historiographic traction over other Cold War settings. Throughout the international antiapartheid struggle, South African expressive culture was channeled through local paradigms of reception in the world beyond, in taut negotiation with aesthetic, insti

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8

Ravell-Pinto, Thelma, and Rayner Ravell. "Obituary: African Icon: Miriam ‘Mama Africa’ Makeba, dies at age 76." Journal of the African Literature Association 2, no. 2 (2008): 274–81. http://dx.doi.org/10.1080/21674736.2008.11690092.

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9

Bush, Elizabeth. "Mama Africa!: How Miriam Makeba Spread Hope with Her Song by Kathryn Erskine." Bulletin of the Center for Children's Books 71, no. 3 (2017): 114. http://dx.doi.org/10.1353/bcc.2017.0772.

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10

Bethlehem, Louise. ""Miriam's Place": South African jazz, conviviality and exile." Social Dynamics A journal of African studies 43, no. 2 (2017): 243–58. https://doi.org/10.1080/02533952.2017.1364464.

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Michael Titlestad has suggested that jazz serves “to mediate, manage and contest” what he terms a “staggered, but also cruel and unusual South African modernity.” His volume Making the Changes (2004) uses the “pedestrian” as a chronotope to describe the “local peripatetic appropriations of global symbolic possibilities” that jazz affords there. This paper proposes a different “chronotope”: that of the train. This substitution facilitates the reading of jazz history in South Africa in tandem with histories of labour migration and other

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11

Parry, Tyler D., and Charlton W. Yingling. "Canines: Enforcing Race & State." Modern American History 8, no. 1 (2025): 132–36. https://doi.org/10.1017/mah.2024.53.

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Two of the world’s greatest boxers—Muhammad Ali of Louisville, KY and George Foreman of Houston, TX—met for the legendary “Rumble in the Jungle” in Kinshasa, Zaire (now the Democratic Republic of Congo) in 1974. With concerts by the African American “Godfather of Soul” James Brown and South African singer-songwriter Miriam Makeba, nicknamed “Mama Africa,” the entwining tones of the U.S. civil rights era and anti-Apartheid movement augmented a cultural moment that displayed Pan-African, Black nationalist, and anti-imperial connections. However, the appearance of an insidious symbol from each af

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12

Olukayode Segun, Eesuola, and Victor Ojakorotu. "Indigenised popular songs for oppositional political communication : Fela Kuti and Miriam Makeba in perspectives." African Renaissance 16, no. 1 (2019): 233–51. http://dx.doi.org/10.31920/2516-5305/2019/v16n1a12.

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13

Ballantine, Christopher. "Looking to the USA: the politics of male close-harmony song style in South Africa during the 1940s and 1950s." Popular Music 18, no. 1 (1999): 1–17. http://dx.doi.org/10.1017/s0261143000008709.

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In South Africa of the 1950s, night-clubs frequented by blacks were dangerous places. Fights, shootings and stabbings were commonplace, and some shows even ended in riots. Gangsters were an important catalyst for such events: they terrorised musicians and patrons alike. Miriam Makeba, whose singing career began in the 1950s, remembers what it was like:[T]hese men come in, sit in front, and pull out their bottles. They put these before them on the table. Then they take out their guns and put these in front of them on the table, too. We are all supposed to look, and we can't help ourselves: We d

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14

Khan, Katy. "South-South cultural cooperation: Transnational identities in the music of Dorothy Masuka and Miriam Makeba." Muziki 5, no. 1 (2008): 145–51. http://dx.doi.org/10.1080/18125980802633052.

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15

Feldstein, Ruth. "Screening Antiapartheid: Miriam Makeba, "Come Back, Africa," and the Transnational Circulation of Black Culture and Politics." Feminist Studies 39, no. 1 (2013): 12–39. http://dx.doi.org/10.1353/fem.2013.0014.

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16

Hashachar, Yair. "Playing the backbeat in Conakry: Miriam Makeba and the cultural politics of Sékou Touré’s Guinea, 1968–1986." Social Dynamics 43, no. 2 (2017): 259–73. http://dx.doi.org/10.1080/02533952.2017.1364467.

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17

Masemola, Kgomotso Michael. "Between Tinseltown and Sophiatown: The Double Temporality of Popular Culture in the Autobiographical Cultural Memory of Bloke Modisane and Miriam Makeba." Journal of Literary Studies 27, no. 1 (2011): 1–27. http://dx.doi.org/10.1080/02564718.2011.557226.

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18

Muyanga, Neo. "Voicing fluid voices: reflections of the multivalence of voice in Miriam Makeba’s art and life." South African Theatre Journal 32, no. 1 (2019): 63–76. http://dx.doi.org/10.1080/10137548.2019.1639542.

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19

Fleming, Tyler. "A marriage of inconvenience: Miriam Makeba’s relationship with Stokely Carmichael and her music career in the United States." Safundi 17, no. 3 (2016): 312–38. http://dx.doi.org/10.1080/17533171.2016.1176720.

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20

"South Africa: Miriam Makeba (1932-2008)." Africa Research Bulletin: Political, Social and Cultural Series 45, no. 11 (2008): 17751B. http://dx.doi.org/10.1111/j.1467-825x.2008.02037.x.

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21

Chaudet, Chloé. "Amour, gloire et panafricanisme." Acta Fabula 26, no. 5 (2025). https://doi.org/10.58282/acta.19611.

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22

Mchunu, Khaya, and Busisiwe Memela. "Fashioning Resistance: The Unsung Fashions of Miriam ‘Mama Africa’ Makeba." Alternation: Interdisciplinary Journal for the Study of the Arts and Humanities in Southern Africa, December 1, 2019. http://dx.doi.org/10.29086/2519-5476/2019/sp26a3.

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23

Colbert, Soyica Diggs. "Lorraine Hansberry and Miriam Makeba’s Affirmative Movements in History." American Literature, December 20, 2022. http://dx.doi.org/10.1215/00029831-10345421.

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Abstract Lorraine Hansberry’s essay “Stanley Gleason” expresses her theory of Black existence. The essay depicts everyday acts that transform the body and, in so doing, expand what is possible. Her ideas about Black existence emerge as part of a long history of Black thought and in relationship to the artistic and political communities she organized. While working in Greenwich Village, Hansberry crossed paths with and learned from an international cadre of intellectuals and performing artists, including South African singer Miriam Makeba, how to shift the body to shape reality. The essay offer

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24

Levi, Ron. "Zaire '74: politicising the sound event." November 10, 2017. https://doi.org/10.1080/02533952.2017.1364469.

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This article focuses on the multi-dimensional sound event in order to articulate certain transnational vectors of political power, anti-imperialism and black power. It proceeds from Louise Bethlehem’s research methodology which recasts the anti-apartheid struggle as an apparatus of transnational cultural production through charting the movement of texts, sounds and images in a cold war setting. At the core of the paper is the analysis of the black music festival “Zaire ‘74,” associated with the famous “Rumble in the Jungle” heavyweight boxing match. Taken to

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25

Hashachar, Yair. "Guinea Unbound: Performing Pan-African Cultural Citizenship Between Algiers 1969 and the Guinean National Festivals." Interventions: International Journal of Postcolonial Studies, August 17, 2018. https://doi.org/10.1080/1369801X.2018.1508932.

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This article seeks to reassess the role of pan-Africanism within the national imagination of postcolonial Guinea under the presidency of Ahmed Sékou Touré. By focusing on the interplay between transnational and national dynamics within two cultural festivals – the First Pan-African Cultural Festival of Algiers in 1969 and the Guinean National Festival – pan-Africanism is recast as a constitutive component of Guinean nationalism, enduring long after independence. Through an analysis of political discourse, discourse about music and recorded music in the context of thes

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26

Boston, Martin L. "Reading Between the Lines: Miriam Makeba’s Shifting Liberation Politics in Drum Magazine, 1957–1964." Journal of Southern African Studies, June 19, 2025, 1–24. https://doi.org/10.1080/03057070.2025.2508589.

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