Pub Date : 2022-01-02DOI: 10.1080/18125980.2022.2117239
Dawn Joseph, David Akombo
Abstract In the light of critical race theory, the authors argue that by engaging in multicultural music through song, students gain cultural and historical understandings of minority groups which may break down barriers that propagate Eurocentrism in music education. In this paper we share our field experience using Zoom videoconferencing as a conduit to access and include music from Africa in initial teacher education (ITE) programmes in Australia. In their preparation to be culturally responsive, ITE students are required to participate in activities that foster understandings of other times, places, cultures, and contexts. Author One collaborated in March 2021 with Author Two, a tertiary music educator based in the United States, to teach Kenyan songs sharing about local culture, and music pedagogy to her third year Bachelor of Education (primary) generalist students in Australia. Employing narrative inquiry, we provide insights into the process of our collaboration and, through critical reflection, add insights into the context of music classroom practice. The findings show that Zoom is an effective videoconferencing platform in helping music educators collaborate to improve practice and increase students’ awareness of music and people from Africa. We recommend that music educators across education settings use technology to collaborate locally and internationally with other music educators and culture bearers to promote inclusive ways of teaching and learning music from Africa. As tertiary music educators, we call on all who teach and learn to respect, recognise, and embrace diverse musical arts in their teaching and learning environments.
{"title":"“It Blew My Mind … ”: Using Technology as Conduit to Teach Authentic Kenyan Music to Australian Teacher Education Students","authors":"Dawn Joseph, David Akombo","doi":"10.1080/18125980.2022.2117239","DOIUrl":"https://doi.org/10.1080/18125980.2022.2117239","url":null,"abstract":"Abstract In the light of critical race theory, the authors argue that by engaging in multicultural music through song, students gain cultural and historical understandings of minority groups which may break down barriers that propagate Eurocentrism in music education. In this paper we share our field experience using Zoom videoconferencing as a conduit to access and include music from Africa in initial teacher education (ITE) programmes in Australia. In their preparation to be culturally responsive, ITE students are required to participate in activities that foster understandings of other times, places, cultures, and contexts. Author One collaborated in March 2021 with Author Two, a tertiary music educator based in the United States, to teach Kenyan songs sharing about local culture, and music pedagogy to her third year Bachelor of Education (primary) generalist students in Australia. Employing narrative inquiry, we provide insights into the process of our collaboration and, through critical reflection, add insights into the context of music classroom practice. The findings show that Zoom is an effective videoconferencing platform in helping music educators collaborate to improve practice and increase students’ awareness of music and people from Africa. We recommend that music educators across education settings use technology to collaborate locally and internationally with other music educators and culture bearers to promote inclusive ways of teaching and learning music from Africa. As tertiary music educators, we call on all who teach and learn to respect, recognise, and embrace diverse musical arts in their teaching and learning environments.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"11 12","pages":"21 - 43"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41276838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/18125980.2023.2196860
T. Pooley
{"title":"Editorial","authors":"T. Pooley","doi":"10.1080/18125980.2023.2196860","DOIUrl":"https://doi.org/10.1080/18125980.2023.2196860","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"19 1","pages":"1 - 2"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42420228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/18125980.2021.2003716
Adesina B. Sunday
Abstract This article discusses an analysis that examined how Olamide Adedeji (whose stage name is Olamide), a popular Nigerian hip-hop artiste, uses his album Omo Abule Sowo (Abule Sowo means someone who can literally make money out of anything) as a rejoinder to people's views about him. The objectives of the analysis were to determine the ideologies encapsulated on the album, describe the pragmatic acts, and identify the devices deployed in achieving his goal. Norman Fairclough's approach to critical discourse analysis (CDA), complemented by Jacob Mey's pragmatic acts theory, served as the theoretical framework. The album was purposively selected because of its thematic relevance. The descriptive research design was adopted. The song text was subjected to pragmatic analysis which revealed that Olamide utilises hedonistic and supremacist ideologies; he deploys the practs of asserting, informing, mocking, warning and threatening; he attacks his unnamed detractors pungently while stressing his own invincibility; he tactically utilises similes, metaphors, allusion and code alternation; he deploys traditional and modern imagery to cater for old and young listeners; he uses mainly call-and-response in presenting the song; and he deploys the members’ resources of the Yoruba artistically to ward off attack and instil fear in his enemies.
{"title":"“Throw the Money in the Air”: Ideological Rejoinder in Olamide's Omo Abule Sowo","authors":"Adesina B. Sunday","doi":"10.1080/18125980.2021.2003716","DOIUrl":"https://doi.org/10.1080/18125980.2021.2003716","url":null,"abstract":"Abstract This article discusses an analysis that examined how Olamide Adedeji (whose stage name is Olamide), a popular Nigerian hip-hop artiste, uses his album Omo Abule Sowo (Abule Sowo means someone who can literally make money out of anything) as a rejoinder to people's views about him. The objectives of the analysis were to determine the ideologies encapsulated on the album, describe the pragmatic acts, and identify the devices deployed in achieving his goal. Norman Fairclough's approach to critical discourse analysis (CDA), complemented by Jacob Mey's pragmatic acts theory, served as the theoretical framework. The album was purposively selected because of its thematic relevance. The descriptive research design was adopted. The song text was subjected to pragmatic analysis which revealed that Olamide utilises hedonistic and supremacist ideologies; he deploys the practs of asserting, informing, mocking, warning and threatening; he attacks his unnamed detractors pungently while stressing his own invincibility; he tactically utilises similes, metaphors, allusion and code alternation; he deploys traditional and modern imagery to cater for old and young listeners; he uses mainly call-and-response in presenting the song; and he deploys the members’ resources of the Yoruba artistically to ward off attack and instil fear in his enemies.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"34 - 51"},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48798506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/18125980.2021.1985941
Luis Gimenez Amoros, Kirk Helliker
Abstract In many African countries, music became an essential vehicle of communication and social expression in order to build new postcolonial states. Further, throughout their independence, many African states reconsidered the direction of national culture towards a decolonisation process. As part of the broad subject of decolonial studies, this article offers a critical approach to the relationship between music and the state during a crucial period of decolonisation in Zimbabwe, with specific reference to the nation-wide land occupations which spread across the country from 2000. In particular, the article examines the representation of musical culture during the fast track land reform programme in Zimbabwe, referred to as the Third Chimurenga. It was the most recent in a series of zvimurenga (or wars of liberation against colonialism). The First Chimurenga refers to the anti-colonial struggle against British colonial intrusions in the 1890s; and the Second Chimurenga to the liberation struggle for independence during the 1970s. According to the ruling Zimbabwe African National Union-Patriotic Front (ZANU-PF) party, full decolonisation only took place because of, and during, the Third Chimurenga. In this context, the notion of Chimurenga music has been defined as a form of cultural resistance against colonialism since the end of the 19th century. The article examines music during the Third Chimurenga by considering it historically and in relation to the post-Mugabe era from 2017. Thus, it focuses on music emanating from both Shona-speaking and Ndebele-speaking artists in favour of land reform, and from emergent musical perspectives outside the popular Chimurenga musical style as expressed in various kinds of Zimbabwean popular music during the 2000 era.
{"title":"The Orchestration of Postcolonial Zimbabwe: The Soundtrack of the Three Zvimurenga and the Present","authors":"Luis Gimenez Amoros, Kirk Helliker","doi":"10.1080/18125980.2021.1985941","DOIUrl":"https://doi.org/10.1080/18125980.2021.1985941","url":null,"abstract":"Abstract In many African countries, music became an essential vehicle of communication and social expression in order to build new postcolonial states. Further, throughout their independence, many African states reconsidered the direction of national culture towards a decolonisation process. As part of the broad subject of decolonial studies, this article offers a critical approach to the relationship between music and the state during a crucial period of decolonisation in Zimbabwe, with specific reference to the nation-wide land occupations which spread across the country from 2000. In particular, the article examines the representation of musical culture during the fast track land reform programme in Zimbabwe, referred to as the Third Chimurenga. It was the most recent in a series of zvimurenga (or wars of liberation against colonialism). The First Chimurenga refers to the anti-colonial struggle against British colonial intrusions in the 1890s; and the Second Chimurenga to the liberation struggle for independence during the 1970s. According to the ruling Zimbabwe African National Union-Patriotic Front (ZANU-PF) party, full decolonisation only took place because of, and during, the Third Chimurenga. In this context, the notion of Chimurenga music has been defined as a form of cultural resistance against colonialism since the end of the 19th century. The article examines music during the Third Chimurenga by considering it historically and in relation to the post-Mugabe era from 2017. Thus, it focuses on music emanating from both Shona-speaking and Ndebele-speaking artists in favour of land reform, and from emergent musical perspectives outside the popular Chimurenga musical style as expressed in various kinds of Zimbabwean popular music during the 2000 era.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"52 - 73"},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41734741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/18125980.2021.2003717
C. Onyeji, E. Onyeji
Abstract This article discusses the outcome of a study that investigated a Batswana cultural practice in the musical arts through performance costuming for females. The study focused on the musical practice and showed how it could be understood to promote sexism and patriarchal notions. The Batswana people, or Tswana for short, are located in the North West province of South Africa. The discourse in the article is presented against the backdrop of benevolent sexism (BS) and patriarchal theories. Sexism constructions in cultural and musical costume practices in the music of the Batswana people have not received any known research attention. The extant research centres on issues other than the subtle use of costumes as a cultural weapon of sexism against females in patriarchal communities. These issues include gender responsibilities and dominations, sexual dominations, patriarchal control, and so on. The current article illuminates the aesthetic principles of musical performance costuming as well as what the authors describe as “cultural” sexism underlying the musical practice, to assess its connection to BS and patriarchal practices of Batswana people. The authors also argue a possible connection of the cultural practice to notions which conflict with the intentions of the musical arts practice. Using field and participant observations, interviews, secondary sources and descriptive content analysis methods, the authors reveal notions of cultural sexism and patriarchal domination through the costumes worn by females in the Batswana music culture.
{"title":"Gender Representations of Females in Batswana Music: “Cultural” Sexism, Aesthetic Principles and Conflict of Social Values in Musical Performance Costuming","authors":"C. Onyeji, E. Onyeji","doi":"10.1080/18125980.2021.2003717","DOIUrl":"https://doi.org/10.1080/18125980.2021.2003717","url":null,"abstract":"Abstract This article discusses the outcome of a study that investigated a Batswana cultural practice in the musical arts through performance costuming for females. The study focused on the musical practice and showed how it could be understood to promote sexism and patriarchal notions. The Batswana people, or Tswana for short, are located in the North West province of South Africa. The discourse in the article is presented against the backdrop of benevolent sexism (BS) and patriarchal theories. Sexism constructions in cultural and musical costume practices in the music of the Batswana people have not received any known research attention. The extant research centres on issues other than the subtle use of costumes as a cultural weapon of sexism against females in patriarchal communities. These issues include gender responsibilities and dominations, sexual dominations, patriarchal control, and so on. The current article illuminates the aesthetic principles of musical performance costuming as well as what the authors describe as “cultural” sexism underlying the musical practice, to assess its connection to BS and patriarchal practices of Batswana people. The authors also argue a possible connection of the cultural practice to notions which conflict with the intentions of the musical arts practice. Using field and participant observations, interviews, secondary sources and descriptive content analysis methods, the authors reveal notions of cultural sexism and patriarchal domination through the costumes worn by females in the Batswana music culture.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"95 - 119"},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42715950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/18125980.2022.2057655
T. Pooley
{"title":"Editorial","authors":"T. Pooley","doi":"10.1080/18125980.2022.2057655","DOIUrl":"https://doi.org/10.1080/18125980.2022.2057655","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"1 - 3"},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48816780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/18125980.2021.2015246
Adri van Wyk, Frelét de Villiers
Abstract Music competitions play a role in the musical and holistic development of talented primary school piano learners, especially concerning exposure to stage performances; mastery of challenging repertoire; and dealing with tension and emotions during and after competition participation. This article reports on a study that aimed to address the gap in the literature regarding the handling of psychological attributes of primary school piano learners preparing for music competitions. The four attributes identified were: a growth mindset; the handling of tension and stage fright; emotional well-being; and motivation. A qualitative research method was applied to investigate the experiences of competition candidates and experienced teachers enrolling their learners for competitions regarding competition preparation and participation. Data collection consisted of open-ended, semi-structured interviews, biographic questionnaires, and a literature study. The study focused on regional and national music competitions for primary school learners, specifically regarding piano teaching. The findings indicated that learners experienced growth as a musician and a person because of their participation in music competitions; that learner development occurred on a personal and artistic level; and that the teacher was central in helping the learner to handle the psychological attributes. Music competitions should be seen as development opportunities rather than end goals. The findings could be valuable for teachers enrolling learners for competitions and current and future competition participants.
{"title":"Psychological Attributes of Primary School Piano Learners Preparing for Regional and National Music Competitions in South Africa","authors":"Adri van Wyk, Frelét de Villiers","doi":"10.1080/18125980.2021.2015246","DOIUrl":"https://doi.org/10.1080/18125980.2021.2015246","url":null,"abstract":"Abstract Music competitions play a role in the musical and holistic development of talented primary school piano learners, especially concerning exposure to stage performances; mastery of challenging repertoire; and dealing with tension and emotions during and after competition participation. This article reports on a study that aimed to address the gap in the literature regarding the handling of psychological attributes of primary school piano learners preparing for music competitions. The four attributes identified were: a growth mindset; the handling of tension and stage fright; emotional well-being; and motivation. A qualitative research method was applied to investigate the experiences of competition candidates and experienced teachers enrolling their learners for competitions regarding competition preparation and participation. Data collection consisted of open-ended, semi-structured interviews, biographic questionnaires, and a literature study. The study focused on regional and national music competitions for primary school learners, specifically regarding piano teaching. The findings indicated that learners experienced growth as a musician and a person because of their participation in music competitions; that learner development occurred on a personal and artistic level; and that the teacher was central in helping the learner to handle the psychological attributes. Music competitions should be seen as development opportunities rather than end goals. The findings could be valuable for teachers enrolling learners for competitions and current and future competition participants.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"120 - 135"},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47183429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/18125980.2021.2015247
Aaron Carter-Enyi
Abstract Living traditions of praise-singing are found throughout sub-Saharan Africa, bridging orality, literacy, digital media and the internet. The transcribed text has been the primary focus of scholarship on African oral traditions. Because of the growing number of digital audiovisual recordings available on streaming and social media platforms, it is possible to analyse more modalities of praise-singing. Along with fieldwork observations, this article reports on a multimodal analysis that was applied to music videos and field recordings to study the role of gaze in oríkì, or praise poetry, a cultural phenomenon amongst Yorùbá speakers of West Africa. The Yorùbá proverb “Ojù l’òṛ òó ̣ wà” suggests that “the meaning of the words is in the eyes of the speaker”. Although scholars have addressed the visual imagery included in oríkì texts, to date, no scholar has made gaze the focus of a research study on praise-singing performance practice. To theorise the praise gaze, the analysis drew on a small but growing body of psychological literature on gaze in Western music (and Indian classical music) and, also, participant-observation. Research has shown that the direction of the performer's head, face and eyes plays a role in the reception of Western concert music. However, in praise-singing traditions, such as oríkì, gaze plays a more important role where the singer looking at the addressee identifies the focal point for the audience. If the addressee returns the gaze, forming a mutual gaze, this is likely to increase the “head-swelling” effect of the praise. These preliminary findings on the topic of gaze in praise-singing, specifically Yorùbá oríkì, are intended to be a basis for further research on a central aspect of performance practice in sub-Saharan Africa. It is expected that as research on this topic expands, variation and nuance in the gaze modality will be revealed.
{"title":"Ojú l’ọ̀rọ̀ọ́ wà: The Praise Gaze in Oríkì Performance","authors":"Aaron Carter-Enyi","doi":"10.1080/18125980.2021.2015247","DOIUrl":"https://doi.org/10.1080/18125980.2021.2015247","url":null,"abstract":"Abstract Living traditions of praise-singing are found throughout sub-Saharan Africa, bridging orality, literacy, digital media and the internet. The transcribed text has been the primary focus of scholarship on African oral traditions. Because of the growing number of digital audiovisual recordings available on streaming and social media platforms, it is possible to analyse more modalities of praise-singing. Along with fieldwork observations, this article reports on a multimodal analysis that was applied to music videos and field recordings to study the role of gaze in oríkì, or praise poetry, a cultural phenomenon amongst Yorùbá speakers of West Africa. The Yorùbá proverb “Ojù l’òṛ òó ̣ wà” suggests that “the meaning of the words is in the eyes of the speaker”. Although scholars have addressed the visual imagery included in oríkì texts, to date, no scholar has made gaze the focus of a research study on praise-singing performance practice. To theorise the praise gaze, the analysis drew on a small but growing body of psychological literature on gaze in Western music (and Indian classical music) and, also, participant-observation. Research has shown that the direction of the performer's head, face and eyes plays a role in the reception of Western concert music. However, in praise-singing traditions, such as oríkì, gaze plays a more important role where the singer looking at the addressee identifies the focal point for the audience. If the addressee returns the gaze, forming a mutual gaze, this is likely to increase the “head-swelling” effect of the praise. These preliminary findings on the topic of gaze in praise-singing, specifically Yorùbá oríkì, are intended to be a basis for further research on a central aspect of performance practice in sub-Saharan Africa. It is expected that as research on this topic expands, variation and nuance in the gaze modality will be revealed.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"4 - 33"},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43142931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/18125980.2021.2011612
Delali Amuzu
Abstract Reggae music emerged in the 1960s, an era of intense anti-colonial and anti-imperialist sentiments and struggles. Having originated in Jamaica, a jurisdiction where Africans had been enslaved, the genre has a tradition of social criticisms, especially the depravity that asymmetrical power relations extend to Africans globally. Through its Rastafari influences, reggae offers an avenue for redemptive philosophies and complex frameworks to waken consciousness and to offer identity, pride and dignity. To decolonise knowledge and conscientise the marginalised on the issues that enslave them, this article analyses four reggae songs by three artists to show how the content of some reggae songs can serve as critical literature for critical pedagogy (CP) in the African academe. CP creates the atmosphere for learners to identify the machinations of dominant forces in education and how to nurture agency for liberation. It promotes an association between education and society, arguing against the annexation of higher education by private capital. The ethos of reggae music, Rastafari and CP converge on the interactions between knowledge, authority and power.
{"title":"Rastafari and Reggae Music as Tools for Critical Pedagogy in the African Academe","authors":"Delali Amuzu","doi":"10.1080/18125980.2021.2011612","DOIUrl":"https://doi.org/10.1080/18125980.2021.2011612","url":null,"abstract":"Abstract Reggae music emerged in the 1960s, an era of intense anti-colonial and anti-imperialist sentiments and struggles. Having originated in Jamaica, a jurisdiction where Africans had been enslaved, the genre has a tradition of social criticisms, especially the depravity that asymmetrical power relations extend to Africans globally. Through its Rastafari influences, reggae offers an avenue for redemptive philosophies and complex frameworks to waken consciousness and to offer identity, pride and dignity. To decolonise knowledge and conscientise the marginalised on the issues that enslave them, this article analyses four reggae songs by three artists to show how the content of some reggae songs can serve as critical literature for critical pedagogy (CP) in the African academe. CP creates the atmosphere for learners to identify the machinations of dominant forces in education and how to nurture agency for liberation. It promotes an association between education and society, arguing against the annexation of higher education by private capital. The ethos of reggae music, Rastafari and CP converge on the interactions between knowledge, authority and power.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"74 - 94"},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46527866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/18125980.2021.1963314
Vimbai Chamisa, Isaac Machafa
Abstract This article outlines an analysis that sought to examine how “early” jiti music has shaped contemporary jiti in Zimbabwe to not only identify aspects that define jiti but also to demonstrate how the style is a historical reality, rooted in the past and generated by the present. To do this, the authors focused on the music of the Bhundu Boys, one of the earliest groups to popularise and influence contemporary jiti music suggesting that their music, in particular the songs that were analysed, serve as examples of songs that are influenced by issues explored in jiti music. The authors also selected songs by Baba Harare, a contemporary jiti popular musician, and analysed how his music either relates to and/or departs from that of the Bhundu Boys. Using British historian Eric Hobsbawm's theory of invented traditions, which states that traditions can be revived or reinvented, the authors identified various adaptation strategies used by both the Bhundu Boys and Baba Harare to reconstitute jiti for popular music performance. The analysis of jiti popular music performance by both early performers of the style and contemporary ones showed that there is an expected “framework of performance and interpretation” for this style for it to continue representing certain traditional values and identities in Zimbabwe.
{"title":"The Adaptation and Development of Jiti for Popular Music Performance in Zimbabwe","authors":"Vimbai Chamisa, Isaac Machafa","doi":"10.1080/18125980.2021.1963314","DOIUrl":"https://doi.org/10.1080/18125980.2021.1963314","url":null,"abstract":"Abstract This article outlines an analysis that sought to examine how “early” jiti music has shaped contemporary jiti in Zimbabwe to not only identify aspects that define jiti but also to demonstrate how the style is a historical reality, rooted in the past and generated by the present. To do this, the authors focused on the music of the Bhundu Boys, one of the earliest groups to popularise and influence contemporary jiti music suggesting that their music, in particular the songs that were analysed, serve as examples of songs that are influenced by issues explored in jiti music. The authors also selected songs by Baba Harare, a contemporary jiti popular musician, and analysed how his music either relates to and/or departs from that of the Bhundu Boys. Using British historian Eric Hobsbawm's theory of invented traditions, which states that traditions can be revived or reinvented, the authors identified various adaptation strategies used by both the Bhundu Boys and Baba Harare to reconstitute jiti for popular music performance. The analysis of jiti popular music performance by both early performers of the style and contemporary ones showed that there is an expected “framework of performance and interpretation” for this style for it to continue representing certain traditional values and identities in Zimbabwe.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"3 - 13"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43515216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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