By Tsitsi Ella Jaji
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 heritage testifying to pan-Africanism's ongoing and open theoretical power. Tsitsi Jaji argues that African American renowned tune appealed to continental Africans as a unit of cultural status, a domain of delight, and most significantly, an expressive shape already encoded with suggestions of inventive resistance to racial hegemony. Ghana, Senegal and South Africa are regarded as 3 precise websites the place longstanding pan-African political and cultural affiliations gave expression to transnational black cohesion. The ebook indicates how such transnational ties fostered what Jaji phrases "stereomodernism." getting to the specificity of varied media during which track used to be transmitted and interpreted-poetry, novels, movies, recordings, gala's, reside performances and websites-stereomodernism debts for the position of cultural perform within the emergence of cohesion, tapping music's means to refresh our figuring out of twentieth-century black transnational ties.
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Extra resources for Africa in Stereo: Modernism, Music, and Pan-African Solidarity
Thinking through Africa’s place in the Black Atlantic necessarily muddles these polarities into an even headier mix, and by following the bacchanal currents that music stirs up, a new optic on the modern emerges. Neither peripheral nor alternative, the forms of modernism examined here are collaboratively worked out among black subjects on the African continent and abroad, subjects who share interrelated legacies of exclusion from the supposed ur-modernity of the West, as well as virtuosic repertoires of (re)-invented traditions that mark their modernist cultural productions.
The question of how to train appropriate “helpmates” for male elites spurred lively debate. Indeed, educational and professional opportunities for women were at the crux of public discourse about what becoming “modern” meant for black South Africans. Nor were female composers unheard of: the world-renowned composer and author John Knox Bokwe included a hymn with words and music by Hilda Rubusana in the 1915 edition of Amaculo ase Lovedale (Lovedale Music), as well as songs with lyrics by Ester Kale and Letty Evelyna Bokwe.
I discuss how Ghanaian poets Kofi Anyidoho and Kwadwo Opoku-Agyemang engage with African American heritage tourism to work through traumatic legacies of slavery from an African perspective. The seven-year sojourn of Kamau Brathwaite in Ghana makes his poetic reflections as a diasporic subject an important point of comparison. I argue that metaphors of echo and other sound effects allow for both ethical relation and disaffection. The vision of diaspora articulated by these three poets is compared with two other bodies of work.