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Africa in Stereo: Modernism, Music, and Pan-African Solidarity

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Africa in Stereo: Modernism, Music, and Pan-African Solidarity Cover

 

Synopses & Reviews

Publisher Comments:

Africa in Stereo analyzes how Africans have engaged with African American music and its representations in the long twentieth century (1890-2011) to offer a new cultural history attesting to pan-Africanism's ongoing and open theoretical potential. Tsitsi Jaji argues that African American popular music appealed to continental Africans as a unit of cultural prestige, a site of pleasure, and most importantly, an expressive form already encoded with strategies of creative resistance to racial hegemony. Ghana, Senegal and South Africa are considered as three distinctive sites where longstanding pan-African political and cultural affiliations gave expression to transnational black solidarity. The book shows how such transnational ties fostered what Jaji terms "stereomodernism." Attending to the specificity of various media through which music was transmitted and interpreted-poetry, novels, films, recordings, festivals, live performances and websites-stereomodernism accounts for the role of cultural practice in the emergence of solidarity, tapping music's capacity to refresh our understanding of twentieth-century black transnational ties.

Synopsis:

Africa In Stereo examines the role that African American music has played in the pan-Africanist imagination since the end of the nineteenth century. Throughout, Jaji marshals a wide array of critical, archival, literary, visual, and sonic sources to craft an argument centered on the stereophonic echoes between three sites on the African continent emblematic of pan-Africanism (Ghana, Senegal, and South Africa) and black musical cultures in the US (as well as few other places on the diasporic landscape). Rather than take a purely musical tack that traces the influence of African American music on musical repertoires from Ghana, Senegal, and South Africa, Africa In Stereo beautifully shows how a US black popular musical genres inspired a host of writers and filmmakers such as Ousmane Sembene, John Akomfrah, Sol Plaatje, Léopold Senghor, K. Anyidoho, Charlotte Maxeke, Ken Bugul, as well as the glossy visual languages found in the early magazines Bingo (Senegal) and Zonk! (South Africa).

About the Author

Tsitsi Ella Jaji is Assistant Professor of English at the University of Pennsylvania.

Table of Contents

Table of Contents

1. Stereomodernism: Amplifying the Black Atlantic

2. Sight-Reading: Early Black South African Transcriptions of Freedom

3. Négritude Musicology: Poetry, Performance, and Statecraft in Senegal

4. What Women Want: Selling Hi-Fi in Consumer Magazines and Film

5. "Soul to Soul": Echolocating Histories of Slavery and Freedom from Ghana

6. Pirates Choice: Hacking into (Post-)Pan-African Futures

Epilogue: Singing Stones

Bibliography

Notes

Product Details

ISBN:
9780199936397
Author:
Jaji, Tsitsi Ella
Publisher:
Oxford University Press, USA
Author:
Jaji, Tsitsi
Subject:
African
Subject:
Literature/English | World Literature | Africa
Subject:
MUSIC / Ethnomusicology
Subject:
Ethnomusicology
Copyright:
Publication Date:
20140231
Binding:
TRADE PAPER
Language:
English
Illustrations:
10 illus.
Pages:
288
Dimensions:
6.1 x 9.2 x 0.9 in 0.85 lb

Related Subjects

Arts and Entertainment » Music » Ethnomusicology
Arts and Entertainment » Music » World Music
Fiction and Poetry » Anthologies » African Literature
History and Social Science » African American Studies » General
History and Social Science » World History » General

Africa in Stereo: Modernism, Music, and Pan-African Solidarity New Trade Paper
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Product details 288 pages Oxford University Press, USA - English 9780199936397 Reviews:
"Synopsis" by , Africa In Stereo examines the role that African American music has played in the pan-Africanist imagination since the end of the nineteenth century. Throughout, Jaji marshals a wide array of critical, archival, literary, visual, and sonic sources to craft an argument centered on the stereophonic echoes between three sites on the African continent emblematic of pan-Africanism (Ghana, Senegal, and South Africa) and black musical cultures in the US (as well as few other places on the diasporic landscape). Rather than take a purely musical tack that traces the influence of African American music on musical repertoires from Ghana, Senegal, and South Africa, Africa In Stereo beautifully shows how a US black popular musical genres inspired a host of writers and filmmakers such as Ousmane Sembene, John Akomfrah, Sol Plaatje, Léopold Senghor, K. Anyidoho, Charlotte Maxeke, Ken Bugul, as well as the glossy visual languages found in the early magazines Bingo (Senegal) and Zonk! (South Africa).
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