CONTENTS

List of Illustrations ix
List of Tables xi
Acknowledgments xiii
List of Common Abbreviations xvii

1
Arts of Governance 1

2
Tanga, Tanganyika, Tanzania 27

3
Of Ginger Ale and Orange Soda 68

4
Weighty Gestures, Significant Glances:
Taarab Performance and the Constitution of Social Relations 123

5
Cultural Revolution in Tanzania? 157

6
Competing Agendas:
The Production of Tanzanian National Culture 196

7
Of Mwanyas and Multipartyism:
Taarab Performance and the Tanzanian State 224

8
Conclusion: Cultural Policy by and for the People 268

Appendix A: Song Texts and Translations 295
Appendix B: Poem from Tanga Technical School 323
Appendix C: Notes on the Accompanying CD 327

Notes 311
Glossary of Swahili Terms 353
References 357
Discography 377
Song Index 403
General Index 405

CONTENTS

List of illustrations v
Resonation CD + notes vi
Acknowledgments viii

Opening Notes

A Pretty Good Crowd for a Friday 11
A City of Windows and Mirrors 12
Popular Music and Instrumental Details 14
‘Feeling’ the Music: Thoughts on Peircean Semiotics 15
Altered Perspectives and Chapter Synopsis 17

Chapter 1
Music, Politics And Modernity
Cosmopolitanism and Glocalisation 20
Points of Departure 22
Natural and National 25

Chapter 2
Going Electric: Dansi as a Cosmopolitan Modernism
Beni Ngoma Performance and Societies 30
The Advent of Dansi 32
Dansi as Anti-Establishment Music 34
Afro-Cuban Rumba 36
The Development of a Record Industry 37
Congolese Rumba, Tanzanian Dansi 39

Chapter 3
Orchestrating the National: Dansi as the Sound of The State
Ujamaa and Umoja 42
National Music, National Musicians 43
Going Out Dancing 49
Radio Tanzania Dar es Salaam (RTD) and Censorship 49
Restrictions and Incentives 52

Chapter 4
Bongo
The Music of the New Generation 54
A Capitalist Scene 58
The Old Stars 62

Chapter 5
Vya kale ni dhahabu! — “Old is Gold!”
From Dust to Digital 67
Fundisha 72
Fathers, Brothers, Grandchildren 75

Resonation

Bibliography

CONTENTS

1. Introduction

2. The music industry
2.i Global overview
2.ii Key components
2.iii Sector value chain
2.iv Revenue streams for international musicians
   2.iv.i Authors
   2.iv.ii Performers

3. Copyright
3.i Overview
3.ii Copyright – international norms
   3.ii.i Automatic rights
   3.ii.ii Author’s rights
   3.ii.iii Moral rights
   3.ii.iv Economic rights
   3.ii.iv.i Performing Rights
   3.ii.iv.ii Mechanical Rights
3.iii Neighbouring rights
3.iv Copyright uses
3.v. Collective management
   3.v.i Main activities
   3.v.ii Governance of collective management societies
   3.v.iii Reciprocal international arrangements
   3.v.iv Blanket licenses
3.vi African CMO case studies

4. Music in Tanzania
4.i Tanzanian music sector overview
4.ii Treatment of copyright in Tanzania
4.iii Legislation
4.iv Policy

5. Stakeholders
5.i COSOTA
5.ii World Intellectual Property Organization
5.iii BASATA
5.iv BRELA
5.v COSTECH
5.vi MCT
5.vii TANTRADE
5.viii Tanzania Broadcasting Corporation
5.ix Tanzania Communications Regulatory Authority
5.x Tanzania Revenue Authority
5.xi Music – private sector
5.xii Broadcasters – television, radio
5.xiii East Africa copyrights management

6. Key challenges
6.i Outdated legal framework
6.ii Critical under-resourcing of COSOTA
6.iii Bureaucracy & red tape
6.iv Lack of transparency
6.v Piracy
6.vi Powers of enforcement
6.vii Lack of government coordination
6.viii Lack of a business-oriented music sector policy
6.ix Lack of awareness & information of copyrights
6.x High tariffs on musical instruments
6.xi Lack of industry statistics & information
6.xii The “tyranny of location”

7. Recommendations
7.i Overhaul of act
7.ii Enable & resource COSOTA
7.iii Adoption of technological best practice
7.iv Outsourced royalties management agency
7.v Music as business
7.vi Developmental approach
7.vii Improved sector coordination
7.viii Industry organisation / coordination
7.ix Waiver of import duties on musical instruments
7.x Business skills training
7.xi Copyright training & awareness promotion
7.xii Enforcement / anti-piracy
7.xiii Research & development
7.xiv Home copy levy
7.xv Distribution and consumer development
7.xvi Digitisation of back catalogue

8. Technology solutions
8.i Technology interventions for COSOTA operations
8.ii Shazam
8.iii Other applications
8.iii.i. Hello Sign
8.iii.ii Eventbrite
8.iii.iii Lemon Wall
8.iii.iv Fujitsu ScanSnap
8.iii.v Xero
8.iii.vi HelloFax
8.iii.vi Adobe EchoSign
8.iii.viii Shoeboxed
8.iii.ix Nitro
8.iii.x. Evernote

9. Summary of recommendations

10. Strategies
A: Formalised government
B: Formalised & skilled industry
C: Process management

11. Conclusion – outcomes of the research

TABLE DES MATIÈRES

Introduction 1

I. Concepts et methodologies 19
1.1 Sur la musique en général 19
   1.1.1 Définition basique de l’objet musique 19
   1.1.2 Premières observations sur la musique 19
1.2 Les sciences sociales et la musique 22
   1.2.1 Anthropologie, sociologie… la vision « classique »
            de la musique 22
   1.2.2 Quelle place pour la musique en géographie ? 25
1.3 Deux types d’outils de recherche 29
   1.3.1 Expérience sur place 29
   1.3.2 Internet, un outil de recherche à part entière 32

II. Musiques urbaines 42
2.1 Afrique en musique : vue d’ensemble 42
   2.1.1 Des concepts pour penser la mise en espace de la ville 42
   2.1.2 Musiques actuelles : le mélange érigé en modèle 47
   2.1.3 Un lien profond avec l’univers de la ville et l’urbanité 58
2.2 Le paysage musical tanzanien 61
   2.2.1 Le Bongo Flava : le prince de la ville 62
   2.2.2 Les traditions musicales et les Zilipendwa 68
   2.2.3 Le Gospel : une Parole qui monte 77
   2.2.4 La musique, la ville et le pouvoir : 
            de l’Ujamaa à l’ouverture 82
2.3 Dar es Salaam : 
       la ville en musique et les musiques de la ville 89
   2.3.1 « Qu’est-ce que je peux faire pour toi ? » : Professor Jay,
             ou l’affirmation évidente de l’identité urbaine 90
   2.3.2 Le Ghetto et les Uswahilini 97

III. … quelle ville pour les musiques ? 114
3.1 Le processus de production musicale en Tanzanie 114
   3.1.1 L’éducation à la musique, premier context
            de production 115
   3.1.2 BASATA : un État de moins en moins présent 117
   3.1.3 Les studios d’enregistrement et leur multiplication 119
   3.1.4 Faiblesse structurelle du support vidéo 124
   3.1.5 Diffusion et distribution : un système verrouillé 127
   3.1.6 Le bar, premier espace de diffusion musicale à
            Dar es Salaam 128
3.2 Les médias : télévision, presse, radio 137
   3.2.1 Embrouille et magouille : entre piraterie et payola, 
            les enjeux d’un marché 142
3.3 Perspectives : diffusion = dilution ? 145
3.4 Importation, économie et musique 151
   3.4.1 La mise en place du marché de la musique 151
3.5 La notion de réseau pour penser le fait musical 
      en géographie 158
3.6 Economie, identité, musique… : quels liens ? 163

[Bibliographie 166
Carte N° 3 & 4 173
Croquis N° 2 177
Sitographie 179
Discographie 180]

CONTENTS

List of Figures and Tables vii
Acknowledgements ix
Technical Note xi

Part I
Introductions
1 Approaches and People 3
2 Meanings and Boundaries 17

Part II
Entangled Histories and Parallel Strands
3 Orchestral Taarab: ‘Old is Gold’ 37
   Section 1: Historical Narratives 37
   Section 2: Stylistic Influences  70
4 Kidumbak 93
5 Women’s Taarab 113

Part III
Flying Spirits: What Women Really Really Want
6 Women as Drivers of Change 143

Part IV
Conclusions
7 The Professionalisation of the Taarab Music Complex 175
8 Women at the Centre of a Music Complex  201

List of Consultants 207
Bibliography 211
Index 229

CONTENTS

List of Figures xi
Area Maps xv
Audio Examples xix
Notes on Translation xxi

Foreword by Hassan Rehani Bitchuka xxiii
Acknowledgments xxv
Introduction xxix

1.
Introducing Muhidin Maalim Gurumo and Hassan Rehani Bitchuka 1
2.
Setting the Stage: The Cultural History of the East-Central African Rhumba Scene 31 
3.
Muhidin Gurumo’s Musical Development and Work with NUTA Jazz Band 51
4.
“Moto Mtundu |Precocious Child”: Hassan Bitchuka’s Early Musical Career 89
5.
Mlimani Park Orchestra: The “Classic Period” (1978-1985) 115
6.
The International Orchestra Safari Sound Era (1985-1987)147
7.
The OTTU Jazz Band Era (1991-2004) 161
8.
Msondo and Sikinde in the Era or Kujitegemea (“Self-Reliance”) 183
9.
Muhidin Gurumo’s Retirement and Passing 203

Concluding Remarks:
The Legacy of Muhidin Gurumo and Hassan Bitchuka 219

Appendix 1
Glossary 221
Appendix 2
Government-Related Acronyms 223
Appendix 3
Muhidin Gurumo and Hassan Bitchuka Band Chronology 225
Appendix 4
Extended Interviews with Muhidin Gururno 227
Appendix 5
Online Discussion: “Bitchtika ana Mafumbo Mengi Yake | Bitchuka has His Many Mysteries” 235
Appendix 6
Studio Sessions 239

Interviews Cited 251
Archives Visited 2S5
Discography 257
Bibliography 263

Index 1: General 277
Index 2: Bands 293
Index 3: Songs 295
About the Author 301

YALIYOMO

Dibaji ix
Shukurani xi

Maisha ya Kijijini 1
Mwanzo wa Bi. Mtumwa 3
Maisha ya Ndoa 5
Giza la Mtumwa 8
Ukurasa Mpya 11
Ndoto ya Mshabiki 13
Ahamia Mtoni 17
Siku ya Masiku 20
Rafiki Rika 23
Jaribio la Ushindi 26
Siti na Uimbaji 30
Nyimbo Zake 38
Ujumbe na Mafiinzo ya Siti Binti Saad 49
Siti Alivyoitumikia Nchi Yake 88

INNEHÅLL

Inledning  i

Olyckans sol 1
Städerna växer fram 4
Förändringar under kolonitiden 5
Den traditionella musiken 6
Den moderna stadsmusiken 8
Västafrika 10
Södra Afrika 11
Central- och Östafrika 12
Katangastilen 13
Den västkongolesiska stilen 13
Africa’s favourite beat 15

Tanzania: ett exempel 17
Stadsmusiken 18
Nationell musik 19
Påverkan 21
Orkestrarna 21
Stagnation eller förnyelse 22
Täxter 24
Topic songs 24
Kärlekssånger 25
Politiska texter 26
Instrumenten 28
Gitarr 28
Slagverk 29
Blåsinstrument 29
Rösten 29
Form och struktur 30
Rytm 31
Melodik 32
Dans 32

Musikexempel 33
Sammanfattning 39
Notförteckning 41
Litteraturlista 44
Diskografi 45

CONTENTS

Acknowledgments ix

Introduction: Postcolonial Public Culture in Sixties Times 1

1
National Culture and Its Others in a Cosmopolitan Capital 37
2
“The Age of Minis”: Secretaries, City Girls, and Masculinity Downtown 86
3
Of Students, ‘Nizers, and Comrades: Youth, Internationalism, and the University College, Dar es Salaam 124
4
“Marriage Goes Metric”: Negotiating Gender, Generation, and Wealth in a Changing Capital 166

Conclusion 206

Notes 219
Bibliography 253
Index 271

CONTENTS

List of Images

Chapter 1
Introduction
Introduction 1
Research Questions
Hip Hop 3
Youth, Masculinities and Urban Space 5
The Global Circulation of Signs 7
Methodology 8
Conclusion 16

Chapter 2
Dar es Salaam – An Introduction
Introduction 18
History of Dar es Salaam 19
Informal Settlements – Uswahilini 22
Labour 30
Young Men in the City 36
Conclusion 37

Chapter 3
Introduction to Popular Music, Hip Hop and
Rapped Music in Dar es Salaam
Introduction 39
Tanzanian Popular Music 39
Hip Hop 46
Hip Hop in Africa 51
Tanzanian Rapped Music 55
Conclusion 65

Chapter 4
Studios, Radio Stations and Distributors
Introduction 67
Wasambazaji – Distributors 69
Radio 72
Radio Presenters – DJ’s 79
Studios 81
Negotiating the Production of Rapped Music 93
Conclusion 97

Chapter 5
Underground Rapping
Introduction 100
Defining Underground 101
Who are the Youth? 104
Underground Rapping in Dar es Salaam 106
Maskani – Spaces of Sociality and Recognition 111
Kampu – Performance and the Politics of Presence 118
Underground Performance Practice 126
Displaying Knowledge 128
Subjectivities and Embodying the Rapper 133
Thugs and Gangsters – Rapping and the
Transnational Imagination 139
Kujitegemea Rapping and Self Reliance 142
Performing Masculinity 146

Chapter 6
Tracing Careers Trajectories
Introduction 148
The Commercial MC – Ambwene Yessayah (AY) 151
The Stubborn MC – Joseph Mbilinyi (Mr II / Sugu) 160
Witness Mwaijaga – (Witnesz) 167
Conclusion 170

Chapter 7
Dogo Hashim
Introduction 173
Biography 175
Playing with Identity 179
Meaning and Multiplicity in Hashim’s Lyrics 192
Conclusion 201

Chapter 8
Genres and Texts
Introduction 202
The Creation of Texts 203
Genre Boundaries and the Ordering of Musical Space 210
Convening an Audience 214
Music with a Message 216
Code Switching and Swanglish 220
Underground Rappers Imagining the Audience 222
Themes
Wives and Playboys – Love, Sex and Romance 227
Tuspend – Consumption and its Anxieties 232
Kioo cha jamii – Socio Political Commentary 239
Intertextuality 243
Religious Discourses 250
Conclusion 255

Chapter 9
Rapping Online and in the Diaspora
Introduction 257
Rappers in the Diaspora
Kibacha Singo – (KBC) 260
Msafiri Kondo – (Solo Thang) 268
Rapped Music Online 270

Chapter 10
Conclusion
Introduction 280
Underground Rap 283
Contesting and Imagining the Nation 285
Rapping and Masculinity 289
Rapping as Intellectual Engagement with the World 293
Future Research 295

Appendices 298
Bibliography 301

YALIYOMO

Utangulizi vii
Shukrani ix

1. Asili ya Taarab 1
2. Vyama na Watribu wa Taarab Zanzibar  
     (i) Naad Akhwani Safaa 8
     (ii) Naad Shuub 13
     (iii) Siti na Wenzake 15
     (iv) Wanawake Taarabuni 28
3. Taarab Kisiwani Pemba 31
4. Taarab ya Zanzibar Miaka ya 1920-1950 33
5. Taarab Katika Ubepari:
    Taarab ya Zanzibar Miaka ya 1950-1964 44
6. Taarab Zanzibar Baada ya Mapinduzi ya Mwaka 1964 55
7. Hitimisho 67
8. Sherehe: Nyimbo za Taarab 69

CONTENTS

List of illustrations iv
Preface v

1. Introduction 1
Research problem and conceptual context 1
The setting: A Saturday Night at Vijana Social Hall 6
Fieldwork and research methods 22

2. Traditional Dance as Symbol and Vehicle in the Nation-building Process 27
Introduction 27
The nationalist movement 28
The quest for a national culture 30
National symbols and the problem of tradition 33
Enlightenment of the people or political propaganda? 40
The cultural revolution goes commercial 51
Project “national culture” abandoned 60
Conclusion 69

3. The Effects of Commercialization and Nationalization on Traditional Dance 77
Introduction 77
The fate of the dance songs 77
Sensualization of movements 89
Artists and their status 93
Traditionalism and modernization: Artist and audience view 99
The introduction of separation 108
Conclusion 114

4. Popular theatre: A cultural alternative 117
Introduction 117
The transformation of Western drama in Tanzania 117
Popular theatre plays and social reality 120
Conclusion 136

YALIYOMO

Utangulizi iii

Sura ya kwanza 1
Sura ya pili:
     Kuzaliwa kwa Remi 22
     Ndoa ya Mwanzo ya remi 27
     Falsafa na Mtazamo wa Remi 27
Sura ya tatu:
     Kukua kwa muziki wa Remi na falsafa yake 35
Kufika Tanzania 37
Matimila 41
Mdundiko – waa ! 45
Sura ya nne 53

CONTENTS

Preface vi
Introduction 1

Part 1 The Urban Context 4

Chapter 1
Dar es Salaam: A History of its Cultural Influences 5
Chapter 2
The Development of Brass Bands in Dar es Salaam 29
Chapter 3
The Contemporary Urban Jazz Band 58

Part 2 Multi-Part Relationships in Musical Structures 88

Chapter 4
The Coast Social Orchestra:
An Analysis of “Mpenzi Usiyumbe-yumbe” 89
Chapter 5
NUTA Jazz: An Analysis of “Instrumental No. 6” 103
Chapter 6
Mbaraka Mwinshehe: An Analysis of “Kibena” 157

Conclusions 218

Appendices
A. Transcription of “Mpenzi Usiyumbe-yumbe” 234
B. Transcription of “Instrumental No. 6” 260
C. Transcription of “Kibena” 283
D. List of Informants 318

YALIYOMO

Mezani kwa mkurugenzi 7
Akiwa shule 12
Alivyokabidhiwa uongozi 17
Alivyoliwakilisha taifa Osaka Japani 18
Kuundwa kwa Super Volcano 22
Alivyoliwakilisha taifa Nigeria 27
Marafiki zake wapenzi 29
Ndoa yake 31
Super Volcano ilivyoonyeshwa katika television 39
Huduma za malipo hospitalini za poteza uhai wa Mbaraka 48
Safari yake ya mwisho 49
Kifo chake na mwisho wa Super Volcano 50
Nyimbo za Moro Jazz:
Mapenzi yanitesa 54
Karume 55
Matusi ya nini 56
Tunachogombea nini 56
Kwa heri rafiki mpenzi 57
Nyimbo za Super Volcano
Nyimbo za Hayati Akiwa na Super Volcano:
Mwishoni akiwa Kenya
Shida 58
Baba mdogo ananitesaa 59
Mashemeji wangapi 60
Hayati ndugu sembuli 61
Koleta 62
Tamaa ya kuku 63
Nimehamia mtaa wa saba 64

YALIYOMO

Kutoka kwa mwandishi 3
Alipokuwa mtoto 5
Alivyozaliwa 7
Muziki 10
Ndoa 18
Makassy tena 21
Ziara ya Ulaya 29
Matumaini yake 41

YALIYOMO

1. Shukrani 4
2. Mbaraka utotoni 6
3. Muziki Morogoro kabla ya Mbaraka 10
4. Mbaraka na Moro Jazz 12
5. Kuihama Morogoro Jazz 21
6. Nyimbo zake 30
7. Mbaraka nje ya jukwaa 81
8. Siku za mwisho 87

CONTENTS

Preface ix
Acknowledgments xxi
Note on Names and Interviews xxv
Video Clips on the Ethnomusicology Multimedia Website xxvii

1 Kumekucha (it is Daylight / Times Have Changed) 1
2 Shall We Mdundiko or Tango? Tanzania’s Music Economy, 1920-1984 37
3 Live in Bongoland 84
4 The Submerged Body 143
5 Radio Revolution 188
6 Analog, Digital… Knobs, Buttons 239
7 Legend of the Pirates 283
8 Everything Is Life 341

Appendix A. Descriptions of Tanzanian Genres of Music 363
Appendix B. List of Tanzanian Radio and Television Stations 369
Appendix C. Clubs with Live Shows in Dar es Salaam 373
Appendix D. List of Tanzanian Promoters Organized by City 379

Notes 389
References 407
Discography 429
Index 439

YALIYOMO

Utangulizi 5

1 Maisha ya utoto kijijini 10
2 Mashaka yaliyoshindwa mjini 17
3 Kufaulu kwake tarabuni 24
4 Pingamizi na wivu 31
5 Jawabu ambalo halikutazamiwa 38
6 Mabadiliko ya heri 45
7 Safari na kuenea kwa sauti yake 53
8 Tabia njema 60
9 Kujikimu kistahiki 66

Orodha ya maneno na maana zake 75

See Main menu “Music industry – Books” for full Table of Contents

TANZANIA INDEX

Tanzanian music, xiii, xv, 30-33, 43, 57, 60, 145;
broadcasting (Radio Tanzania),
83,209, 225, 226, 227, 233, 234, 257,259-61, 264;
copyright, 47, 209, 211;
cultural dominance, 298-9;
government policies, 218-19, 225-7, 230, 237, 260-61, 295-6;
jazz bands, 13, 33, 64, 219, 227, 260, 261, 280-81, 303;
local music groups, 43, 260-61;
mechanical reproduction’s lack of resources, 152;
mediaization, 280-81;
music education, 230, 231;
national pop-rock scene, 303, 306-7, 310;
phonogram industry, 113, 115, 117, 295-6;
phonogram technology, 277, 281;
piracy, 45, 227;
popular music, 32-3, 64-5, 219, 298, 302;
profile of change (appendix), 376—80;
soul music, 14;
tradition and change,
13-17, 31-2, 227, 230, 270; and transnational, 83, 95, 96;
unofficial music sector, 227
Tanzanian District Cultural Offices, 225, 226
Tanzanian Film Company (TFC), 64, 95, 152, 225, 226, 226
Tanzanian Ministry of Culture and Youth, 218-19, 225
Tanzanian National School of Music, Dance and Drama, 230

CONTENTS

Acknowledgments ix

Introduction 1
Popular Practices and Neoliberal Dilemmas in Arusha

1 Themes and Theories 23
Popular Culture in Africa and Elsewhere

2 Enacting the Invincible 39
Youthful Performance in Town

Portraits One – Bad Boyz Barbers 65

3 Thug Realism 71
Inhabiting Spaces of Masculine Fantasy

Portraits Two – Aspiration 97

4 The Barber in Pain 105
Consciousness, Affliction, and Alterity

Portraits Three – Uncertain Prospects 133

5 Gender (In)Visible 139
Contests of Style

6 Learning from Your Surroundings 169
Watching Television and Social Participation

7 Chronic Mobb Asks a Blessing 197
Apocalyptic Hip Hop and the Global Crisis

Conclusion 233

Notes 241
References 247
Index 257

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CONTENTS

Foreword to the first edition by B. W. Andrzejewski ix
Foreword to the 1996 edition by Abdilahi Qarshi xi
Preface to the first edition xv
Preface to the 1996 edition xxiii

1. Introduction
The social context 1
The Nature of Traditional Pastoralist Poetry 12
The Historical Development of Modern Oral Poetry 17

2. The Family of Miniature Genres
The Nature of the Family of Miniature Genres 27
The Poetry of the Miniature Family 32

3. The emergence of the Belwo
The Historical Background 49
The Belwo is Born 53
The Poetry of the Belwo 59

4. The Heello: Period One
The Metamorphosis: Belwo to Heello A 75
The Modem Poem: Heello A to Heello B 82

5. The Heello: Period Two
The Historical Background 95
The Poetry of the Second Period 103

6. The Heello: Period Three
The Historical Background 117
The Poetry of the Third Period 146

7. Characteristics of the Heello: All Periods
Themes Common to All Periods 175
Structural Characteristics and
Development Common to All Periods 190
The Impact of Media on Modern Poetry 208

8. Conclusion
The Inheritance of the Heello 215
Forces Behind the Success and Development of Modern Poetry 216

CONTENTS

Foreword by Banning Eyre ix
Introduction 1

Part 1 Early Days
1 The Birth of Afrobeat 27
2 Joe Mensah Remembers 41
3 Fela in Ghana 49
4 Stan Plange Remembers 29

Part 2 Confrontation
5 Kalakuta is Born 67
6 “JB” Talks about Fela 73
7 The Kalakuta Republic 81
8 The Black President 114
9 Amsterdam and After 125

Part 3 Retrospect
10 Mac Tontoh on Fela 139
11 Frank Talk about Fela 152
12 Obiba Plays It Again 165
13 Smart Binete Sorts It Out 174
14 Anku Checks Out the Beat 178
15 Nana Danso Orchestrates 183
16 Some Early Afro-Fusion Pioneers 197
17 Interview with Fela 204
18 Afterthoughts and Updates 209
19. Felabrations at Home and Abroad 238

Chronology 259
Notes 269
Selected Bibliography 281
Discography 285
Appendix A: “Shuffering and Shmiling” Score 303
Index 309

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CONTENTS

AFRICA

The North and West
Introduction: Peter Gabriel 1
Libya 3
Tunisia 5
Algeria 6
Morocco 13
Mauritania 16
Senegal 17
Mali 20
Guinea 26
Guinea-Bissau 29
Cape Verde 29
Sierra Leone 31
Côte d’Ivoire 32
Ghana 34
Togo and Benin 36
Nigeria 37

Central Africa, The South and East
Introduction: Manu Dibango 42
Cameroon 44
Zaire 49
Congo 56
Gabon 56
Angola 57
Zambia 58
Mozambique 59
Zimbabwe 60
South Africa 65
Madagascar 70
Mauritius and Reunion 71
Tanzania and Zanzibar 72
Kenya 74
Uganda 76
Burundi 76
Ethiopia 77
Sudan 79

TABLE DE MATIÈRES

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