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Relevant bibliographies by topics / Xhosa (African people) – Music – Social aspects / Books

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Books on the topic 'Xhosa (African people) – Music – Social aspects'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Funani, Lumka Sheila. Circumcision among the Ama-Xhosa: A medical investigation. Skotaville Publishers, 1990.

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2

Meintjes, Graeme. Manhood at a price: Socio-medical perspectives on Xhosa traditional circumcision. Institute of Social and Economic Research, Rhodes University, 1998.

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3

Xhosa beer drinking rituals: Power, practice, and performance in the South African rural periphery. Carolina Academic Press, 2005.

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4

McAllister, P. A. Xhosa beer drinking rituals: Power, practice, and performance in the South African rural periphery. Carolina Academic Press, 2004.

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5

Dzakpasu, Conor Caesar Kofi. The message of the atumpan drum beat: The talking drums of Dzodze. Dela Publication and Design Services, 1992.

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6

Female voices from an Ewe dance-drumming community in Ghana: Our music has become a divine spirit. Ashgate, 2009.

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7

Klein, Debra L. Yorùbá bàtá goes global: Artists, culture brokers, and fans. University of Chicago Press, 2007.

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8

Masters of the sabar: Wolof griot percussionists of Senegal. Temple University Press, 2007.

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9

Politics and ethnicity: Political anthroponymy in Northern Ghana. Nova Science Publishers, 2010.

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10

Remains of ritual: Northern gods in a southern land. University of Chicago Press, 2008.

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11

Malale, Lukanda lwa. Symposium "Le tambour, document historique et source de la world music," Brazzaville, du 06 au 10 août 2001. SAF, 2001.

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12

Conserved spaces, ancestral places: Conservation, history and identity among farm labourers in the Sundays River Valley, South Africa. University of KwaZulu-Natal Press, 2014.

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13

Sound of Africa!: Making music Zulu in a South African studio. Duke University Press, 2003.

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14

Ampene, Kwasi. Female song tradition and the Akan of Ghana: The creative process in Nnwonkoro. Ashgate, 2004.

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15

Searching for a baby's calabash: A study of Arusha Maasai fertility songs as chrystallized [sic] expression of central cultural values. Philipp Verlag, 1992.

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16

photographer, Lemon T. J., ed. Dust of the Zulu: Ngoma aesthetics after Apartheid. 2017.

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17

Female Voices from an Ewe Dance-Drumming Community in Ghana: Our Music Has Become a Divine Spirit. Taylor & Francis Group, 2016.

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18

Baakisimba: Gender in the Music and Dance of the Baganda People of Uganda (Current Research in Ethnomusicology, Outstanding Dissertations, 9). Routledge, 2005.

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19

Yoruba Bata Goes Global: Artists, Culture Brokers, and Fans. University Of Chicago Press, 2007.

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20

Klein, Debra L. Yoruba Bata Goes Global: Artists, Culture Brokers, and Fans. University Of Chicago Press, 2007.

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21

Meintjes, Louise. Sound of Africa: Making Music Zulu in a South African Studio. Duke University Press, 2003.

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22

Meintjes, Louise. Sound of Africa!: Making Music Zulu in a South African Studio. Duke University Press, 2003.

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23

Bamako Sounds: The Afropolitan Ethics of Malian Music. University of Minnesota Press, 2015.

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24

Skinner, Ryan Thomas. Bamako Sounds: The Afropolitan Ethics of Malian Music. University of Minnesota Press, 2015.

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25

Hogan, Brian. “They Say We Exchanged Our Eyes for the Xylophone”. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.6.

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Abstract:

The funeral xylophone tradition of the Birifor people of Northwest Ghana is renowned across the West African hinterland for its musical artistry, cultural histories, surrogated song texts, and symbolic meaning. The Northwest as a whole has a historically high incidence of blindness, motivating a range of interpretations of visual impairment as disability. In rural Birifor communities, the music, bodies, and ability of blind xylophonists are filtered through a cultural ideology of ability that hijacks social conceptions of disability as biological deviance, and manufactures disability as spiritual deviance. This reveals a spiritual model of disability, which together with the mystical aspects of musicianship in Birifor culture, leads to a compound form of subordination for blind musicians. Against this culturally pervasive ableism, blind Birifor xylophonists compose and perform “enemy music” as an act of resistance, contestation, and catharsis that recasts disability as a lived reality and reframes the true locations of disability.

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26

Koester, Craig R., ed. The Oxford Handbook of the Book of Revelation. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190655433.001.0001.

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The Oxford Handbook of the Book of Revelation is the premier reference work for the study of Revelation. Part 1 gives attention to the literary features of the book, including its narrative and rhetorical aspects, imagery, hymns, use of the Old Testament and distinctive Greek style. Part 2 considers the social context in which Revelation was composed and first read, including its relation to Roman rule, Jewish communities, Greco-Roman religions, and various groups of Jesus followers. Part 3 explores major topics in theology and ethics, including God, Jesus, and the Spirit; perspectives on creation, evil, and violence; and the portrayal of Babylon, new Jerusalem, and the people of God. Part 4 deals with the book’s history of reception and influence, including the transmission of the Greek text and inclusion in the New Testament canon, patterns of interpretation in antiquity, middle ages, and modern period, and Revelation’s impact on liturgy and music. Part 5 turns to emerging trends in interpretation, including the use of feminist, African American, and post-colonial perspectives. With contributions from leading international scholars, the volume offers authoritative essays on the current state of research that will help to shape the direction of future studies in the field.

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