Fela: Life and Times of an AfricanTemple University Press, 2 feb 2011 - 352 pagine Musician, political critic, and hedonist, international superstar Fela Anikulapo-Kuti created a sensation throughout his career. In his own country of Nigeria he was simultaneously adulated and loathed, often by the same people at the same time. His outspoken political views and advocacy of marijuana smoking and sexual promiscuity offended many, even as his musical brilliance enthralled them. In his creation of afrobeat, he melded African traditions with African American and Afro-Caribbean influences to revolutionize world music. Although harassed, beaten, and jailed by Nigerian authorities, he continued his outspoken and derisive criticism of political corruption at home and economic exploitation from abroad. A volatile mixture of personal characteristics -- charisma, musical talent, maverick lifestyle, populist ideology, and persistence in the face of persecution -- made him a legend throughout Africa and the world. Celebrated during the 1970s as a musical innovator and spokesman for the continent's oppressed masses, he enjoyed worldwide celebrity during the 1980s and was recognized in the 1990s as a major pioneer and elder statesman of African music. By the time of his death in 1997 from AIDS-related complications, Fela had become something of a Nigerian institution. In Africa, the idea of transnational alliance, once thought to be outmoded, has gained new currency. In African America, during a period of increasing social conservatism and ethnic polarization, Africa has re-emerged as a symbol of cultural affirmation. At such an historical moment, Fela's music offers a perspective on race, class, and nation on both sides of the Atlantic. As Professor Veal demonstrates, over three decades Fela synthesized a unique musical language while also clearing -- if only temporarily -- a space for popular political dissent and a type of counter-cultural expression rarely seen in West Africa. In the midst of political turmoil in Africa, as well as renewal of pro-African cultural nationalism throughout the diaspora, Fela's political music functions as a post-colonial art form that uses cross-cultural exchange to voice a unique and powerful African essentialism. |
Sommario
1 | |
21 | |
Gentleman 19581970 | 39 |
African Message 19701974 | 77 |
The Black President 19741979 | 121 |
A Serious Cultural Episode 19791992 | 167 |
Fear Not for Man 19851997 | 221 |
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Parole e frasi comuni
Abeokuta Abiola African music African-American Afrika 70 Afrika Shrine afrobeat Alhaji American Anikulapo-Kuti artists audience Babangida band black power career CHORUS Collins colonial concert corruption country's critical cultural Daily dance Decca despite drum Ebenezer Obey economic Egypt 80 elite ensemble ethnic European Fela Anikulapo-Kuti Fela quoted Fela Ransome-Kuti Fela's Fela's music Femi FESTAC festival funk Funmilayo Funmilayo Ransome-Kuti Gbolagunte Ghana guitar highlife horn ideology Idowu Ikeja indigenous influence instrumental James Brown jazz juju Kalakuta Koola Lobitos Kuti Lagos late later leaders marijuana military musicians naira Nigeria Nigeria 70 Nkrumah Obasanjo organization Pan-African performance play police political popular music postcolonial President Ransome-Kuti family recording reflected released rhythm role saxophone shit singer singing social soldiers solo songs soul soul music Soyinka stage style stylistic Sunny Ade theme tion Tony Allen tour traditional Yoruba urban vocal West African Western women Yoruba
Riferimenti a questo libro
Representing African Music: Postcolonial Notes, Queries, Positions Victor Kofi Agawu Anteprima limitata - 2003 |
New Partnership for Africa's Development, NEPAD: A New Path? Peter Anyang' Nyong'o,Aseghedech Ghirmazion,Davinder Lamba Visualizzazione estratti - 2002 |