By Tsitsi Ella Jaji

ISBN-10: 0199936374

ISBN-13: 9780199936373

Africa in Stereo analyzes how Africans have engaged with African American tune and its representations within the lengthy 20th century (1890-2011) to supply a brand new cultural background testifying to pan-Africanism's ongoing and open theoretical power. Tsitsi Jaji argues that African American well known track appealed to continental Africans as a unit of cultural status, a domain of enjoyment, and most significantly, an expressive shape already encoded with techniques of artistic resistance to racial hegemony. Ghana, Senegal and South Africa are regarded as 3 particular websites the place longstanding pan-African political and cultural affiliations gave expression to transnational black unity. The publication indicates how such transnational ties fostered what Jaji phrases "stereomodernism." getting to the specificity of assorted media by which song was once transmitted and interpreted-poetry, novels, movies, recordings, gala's, reside performances and websites-stereomodernism bills for the function of cultural perform within the emergence of unity, tapping music's potential to refresh our realizing of twentieth-century black transnational ties.

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

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The recognition that practicing solidarity is hard work offers us an opportunity to consider pan-Africanism not so much as a movement that has or has not succeeded, but as a continuum of achievements and apparent failures that can only be understood in toto. That is, solidarity is necessarily a project that takes up the challenge to work together: it may work, work out, work poorly, work a nerve, and most important, it may just work it (because sometimes we’ re fabulous like that). And if solidarity itself is hard work, we must remain alert to the difficult formal and political moves in the cultural expressions of such solidarity.

Indd 15 10/30/2013 6:54:05 PM 16 Africa in Stereo collaboration are far from simple, and stereomodern solidarity is certainly neither easy, smooth, nor uniformly celebratory. Simon Gikandi has deftly traced how black subjects have figured in the history of twentieth-century Euro-American modernism, and throughout this book much of the instability in meanings and means of modernism can be traced back to the fault lines of race in that history. Gikandi’s account of the problematic function of race in Euro-American modernism brings into view the ways that differently located black cultural productions were essential but by no means fungible components in Western modernism’s self-construction, and in so doing he lays the groundwork for tracing the interrelationships between these black cultures of modernism.

This chapter begins by elaborating on transcription as a medium of stereomodernism and then considers transcription in the work of four exemplary figures: John Langalibalele Dube, Nokutela Dube née Mdima, Charlotte Manye Maxeke, and Solomon Tshekisho Plaatje. It has long been recognized that Western musical accomplishment was a key sign of Victorian savoir-faire for self-consciously modern Africans of the period. 3 My study shifts the focus to what writing music itself—as score and as textual referent—meant for a generation of self-styled modernist South Africans who saw their own aspirations as inseparably linked to international pan-Africanism.

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Africa in Stereo: Modernism, Music, and Pan-African Solidarity by Tsitsi Ella Jaji


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