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 International / International / Internacional  

Day, Julia G.:
“Cause this is Africa”: Contesting Visual, Sonic, and Performed Representations
of Africa in Paris, Montreal, and the 2010 South African World Cup.

Ph.D. University of Washington (Seattle, Wash.), 2017. xi & 218 p.
ContentsPDF Download / Télécharger / Baixar 14.70 MB

 Belgium / Belgique / Bélgica  

Gallez, François:
Le paysage musical africain à Bruxelles (ses différentes acteurs).
Mémoire. Institut Supérieur de Formation Sociale et de Communication ISFSC (Bruxelles), 2002. 120 p.

 France / France / França  

Berna, Marianne [Text] & Bill Akwa Betote [Fotografie]:
Paris wie die Wilden. Afrika – seine Musik – ihre Metropole.
Zürich: Eco-Verlag, 1991. 208 p.
Inhalt

Betote, Bill Akwa & Frank Tenaille:
Musafrica. Portraits de la musique africaine.
Paris: Éditions du Layeur, 2001. 95 p.
Table des matières
Documentation photographique – concerts avec des musiciens  africains en France.

Gandoulou, Justin-Daniel:
Entre Paris et Bakongo.
Paris: Éditions de Centre Pompidou, 1984.
Réédition
Au cœur de la sape. Mœurs et aventures de congolais à Paris.
Paris: Éditions l’Harmattan, 1989. 213 p.
Table des matières

Winders, James A.:
Paris Africain. Rhythms of the African Diaspora.
New York, N.Y.: Palmgrave Macmillan, 2006. 231 p.
Contents

 Germany / Allemagne /  Alemanha  

Carl, Florian:
Berlin/Accra. Music, Travel, and the Production of Space.
Münster: Lit Verlag, Reihe KlangKulturStudien / SoundCultureStudies, Vol. 3, 2009. 208 p.
ISBN 978-3-8258-1905-7

Carl, Florian:
Was bedeutet uns Afrika?
Zur Darstellung afrikanischer Musik im deutschsprachigen Diskurs des 19. und frühen 20. Jahrhunderts.
Münster: Lit Verlag, Reihe Encounters / Begegnungen, Band 4, 2004. 184 p.
ISBN 978-3-8258-7153-3

 USA / Etats-Unis / EUA  

Reed, Daniel B.:
Abidjan USA.
Music, Dance and Mobility in the Lives of Four Ivorian Immigrants.

Bloomington, Ind.: Indiana University Press, 2016.
Contents

 Canada  

Friesen, Carinna:
Musical Taste, Performance, and Identity among West African Canadians.
M.A. University of Alberta (Edmonton, AB), 2010.

Kelley, Michael Alexander:
Adaptation and Creativity in Montreal’s West African Music Scene.
M.A. University of British Colombia (Vancouver, BC), 2014. vii & 74 p.
ContentsPDF Download / Télécharger / Baixar 416 KB

Page created 18/08/2018 © afrobib.com

  • Day, Julia G.:
    “Cause this is Africa”: Contesting Visual, Sonic, and Performed Representations
    of Africa in Paris, Montreal, and the 2010 South African World Cup.

    Ph.D. University of Washington (Seattle, Wash.), 2017. xi & 218 p.

    CONTENTS

    Abstract iii
    Table of Contents vi
    Preface ix

    Chapter One
    Introduction 1
    Representation and Scholarship on Africa 3
    Representation and Ethnomusicology 4
    African Popular Music 6
    Afropolitanism and the World in Movement 8
    Diaspora, Transnationalism, and Cosmopolitanism 11
    Overview of the Sites 15
    Sound as a Site of Representation 15
    Paris, France 17
    Montreal, Canada 22
    Methods 26
    Overview of the Chapters 29

    Chapter Two
    Making Space and Facilitating Contact Zones in
    Five Paris Museums
    32
    Contact Zones and Space as Practiced Place 33
    Reifying Place and Representing Africa:
    Musée du Quai Branly 37
    Museum Events that Facilitate Space-making 44
    Reclaiming a Colonial Site:
    La Cité Nationale de l’Histoire de l’Immigration 45
    Resisting Negative Representation:
    Banlieue is Beautiful 50
    Rejecting Power Through Nostalgia:
    Le Petit Musée de la Françafrique 56
    Music and Performance at Museums as Process:
    The Great Black Music Exhibit and the African Remix
    Concert Series at Cité de la Musique 59
    Conclusion 72

    Chapter Three
    Representing an Elite Afropolitan Paris
    through Coupé-Décalé
    74
    Ivorian Politics and Music since 1960 76
    Coupé-Décalé and the Myth of an African Paris 81
    “Sagacité,” Douk Saga and the Jet Set (2003) 83
    “Voilà String,” Meiway (2004) 89
    “Gbinchin Pintin,” DJ Arafat (2014) 95
    Afropolitan Space in the City of Lights 102
    Mapping African Venues in Paris 104
    Conclusion 109

    Chapter Four
    Performing Future Québécois Identities at
    the Festival International Nuits d’Afrique
    111
    Music Festivals as Sites of Cultural Production and
    Québécois Interculturalism 114
    Performing Past Heritage: Music, Festivals, and Identity
    in Quebec 119
    Performing Future Identities: Interculturalism and Festival
    International Nuits d’Afrique 125
    Asserting Interculturalism through Performances of
    African Music 129
    Les Lions Noirs: Performing a Shared Québécois
    Cultural Identity 130
    Doussou Koulibaly: Performing Gender Equality 132
    Gokh-Bi System: Balancing Heritage of the Past with
    Innovation for the Present 136
    Black Bazar: Celebrating African Immigrants 139
    Conclusion 142

    Chapter Five
    Representing Africa Sonically through the Mbube Topid 144
    Semiotics, Topic Theory, and the Mbube Topic 147
    About the Transcriptions 152
    “Mbube”: From Song to Genre to Topic 154
    Solomon Linda’s Original Evening Birds 155
    Paul Simon and Graceland 159
    The Mbube Topic Normalized: Disney’s The Lion King 164
    “Wavin’ Flag (Celebration Mix)” Performed by K’Naan 167
    “Waka Waka (This Time for Africa)” Performed by Shakira 176
    From “Zangelewa” to “Waka Waka” 178

    Conclusion 197

    Epilogue 199

    Bibliography 201
    Discography 213

    Appendix A 214
    Appendix B 217

  • Berna, Marianne [Text] & Bill Akwa Betote [Fotografie]:
    Paris wie die Wilden. Afrika – seine Musik – ihre Metropole.
    Zürich: Eco-Verlag, 1991. 208 p.
    ISBN 3-85647-105-7

    INHALT

    Vorwort  9

    1. Sahel – Paris einfach! Einfach!!  11
    Wie die Têtes Brúlées aus der Chacal-Bar in Yaoundé nach Paris gerieten. Träume, Mythen, Phantasien und Projektionen über die »métropole«. Infrastruktur; Zentralismus; warum Paris und nicht London? Erste, zweite, dritte Einwandererwelle; zweite Generation.

    2. Stadt des Lichts Oder: Viel Licht wirft viel Schatten  27
    Wohnen in Paris: Quartiere (11., 18., 20. Arrondissement); Banlieues; Foyers. Paperassen – legal, illegal, scheissegal,
    wenn man kaum lessen kann. Frankreichs Einwandererpolitik;
    Jack Lang; Rassismus.

    3. Ambiance! 39
    La Fête: Boîtes, Restaurants, Konzertlokale. Tauten und
    Kellertreffs, »les circuits”.

    4. Arbeit? Business! 52
    Jobs, Arbeitslosigkeit. Die Musikmafia: Plattenfirmen, Konzertpromoteure, Manager.

    5. Auf Tournee 69
    Wozu ûberhaupt? Platten unter die Leute bringen. Das afrikanische Gruppenverhalten. Wenn die Band beim Manager wohnt…

    6. Einer unter vielen, Erster unter Gleichen: Mory Kante 81
    Ein Portrât

    7. Trommeln und TV – die Medien 95
    Das Buschtelefon. Die Radios libres. Jeune Afrique, Africa International, Bingo etc. Die französische »Normal«-Presse (Liberation, Actuel etc.).

    8. Kleines Who’s Who in Schwarzweiss 107
    – Bill Akwa Betote, Fotograf (dieses Buches), Musiker, 
       Kaufmann, Prinz
    – Philippe Conrath, Journalist, Trendsetter und Plattenverleger
    – Francis Bebey, Musiker, Journalist, Schriftsteller
    – Kim Keliba, Radiofrau, Wirtin, Vertrauensperson
    – Mamadou Konte, Konzert-Veranstalter, Manager

    9. Die Inseln ûber dem Winde und das Reich Rachid Babas 119
    Les Antillais: Franzosen auf dem Papier. Aber schwarz. Und: die »Araber«.

    10. Die Frau meines Mannes 129
    Frauen. Polygamie. Ehefrau – kein einfacher Beruf. Und dann noch schwarz… Musikerinnen, mit der Lupe zu suchen.

    11. Begegnungen der dritten Art 147
    Der Mythos des schwarzen Mannes, der Mythos der weissen Frau. Der Aufriss. Polygamie (nochmals). Sexualitât in schwarzen Kulturen, zu hören in schwarzen Musiken. Sex, Liebe, Ehe und Scheidung. »Als nächsten Ehemann möchte ich einen Bamiléké«.

    12. Schön sein 161
    Die Körperästhetik der Schwarzen. La SAPE, »Société des Ambianceurs et Personnes Elégantes«: aus Klamotten einen Lebensinhalt machen.
    Coiffeursalons, Kosmetik, Mode.

    13. Nicht mehr wichtiger als die Farbe der Augen 173
    »Métissage«, Vermischung. Endlich gehen die Einflüsse nicht mehr nur in eine Richtung. Kulturverlust?

    14. Kleiner Führer durchs schwarze Paris* 183
    Boîtes, Restaus, Adressen, Tips, Radiofrequenzen, wo sich informieren. Dazu ausgewählte Platten und ein paar Bücher zum Weiterlesen. Eine Starthilfe.

    Wer sind sie? ** 193
    Musikerinnen und Musiker, Gruppen, Persönlichkeiten kurz beschrieben.

    Glossarium***  205
    All die fremden Ausdrucke erklart

    *   im Text Namen fett kursiv gedruckt
    **  im Text Namen fett hervorgehoben
    *** im Text Ausdrücke in Kursivschrift

  • Betote, Bill Akwa & Frank Tenaille:
    Musafrica. Portraits de la musique africaine.
    Paris: Éditions du Layeur, 2001. 95 p.
    ISBN 2-911468-69-4
    Documentation photographique – concerts avec des musiciens  africains en France.

    TABLE DES MATIÈRES

    Frank Tenaille
    Bill Akwa Betote Photographe – Griot 5

    Doudou N’Diaye Rose 13
    Les Têtes Brûlées 14
    Benjamin-Jules Rosette 15
    Moussa Sissoko 16
    Show d’Ali Baba 17
    Bébé Manga 18
    Aïcha Koné 19
    Myriam Makeba 20
    Féla Anikulapo Kuti 21
    Kalaghan 22
    Ambiance zaïroise 23
    Baaba Maal 24
    Choristes de Mory Kanté 25
    Ooleya Mint Amartichitt 26
    Docteur Nico 27
    Bovic Shamar 38
    Alpha Blondy 28
    Angélique Kidjo 29
    Femmes Touaregs du Niger 30
    Danseuse de Mory Kanté 31
    Doumbélane 32
    Bonga & Steve Potts 33
    Dimi Mint Abba 34
    Kaloum Star 35
    M’Pongo Love & Nimon Toki Lala 36
    Des griottes maliennes 37
    Bidew Bou Bess, Positive Black Soul & Daara J 38
    Zap Mama 39
    Gilbert Gil Umbelina 40
    Geoffrey Oryema 41
    Jean Emilien 42
    Boncana Maïga 43
    Ismaël Lô 44
    Manu Dibango 45
    Colenso Abafana Benkokhelo 46
    Les Officiers de la Musique 46
    Ambiance guinéenne 47
    Abdullah Ibrahim (Dollar Brand) 48
    Hugh Masékéla 49
    Willy N’For 50
    Mahotella Queens 51
    Rakoto Frah 52
    Eusèbe Jaojoby 53
    N’Zongo Soul 54
    Nahawa Doumbia 55
    Tabu Ley Rochereau 56
    Papa Wemba 57
    Remy Ongala 58
    Princess Erica 59
    Les ballets Lemba 60
    Tambourinaires du Burundi 61
    Granmoun Lele 62
    Salif Keita 63
    Les Merveilles de Guinée 64
    Thomas Mapfumo 65
    Stella Chiweshe 66
    Youssou N’Dour 67
    Ami Koita 68
    Mbilia Bel 69
    Zaiko Langa-Langa 70
    Zao 71
    Tam-tam pour l’Ethiopie 72
    Lapiro de Manga, Ray Lema & Manu Dibango 73
    Abeti Masikini & Georges Seba 74
    M’Pongo Love 75
    Cesaria Evora 76
    Mamadou Konté 77
    Lokua Kanza 78
    Mory kanté 79
    Franco 80
    Aminata Fall 81
    Cheikh Tidiane Seck 81
    Emoro 82
    Ambiance « circuit » 83
    Sekou Diabate 84
    Les Tambours de Brazza 85
    Danyel Waro & Firmin Viry 85
    Mahmoud Ahmed 86
    Oumou Sangare 87
    Johnny Clegg 88
    Mikidache  & Pascal Pallisco 89
    Wendo & Anne-Marie Nzié 89
    Justin Vali 90
    Mama Ohandja 90
    Ali farka Touré 91
    Wally Badarou 92
    Tony Allen 93
    Boubacar Traoré 84
    Frank Tenaille, Philibert Rabezaoza & Bill Akwa Betote 95

  • Gandoulou, Justin-Daniel:
    Entre Paris et Bakongo.
    Paris: Éditions de Centre Pompidou, 1984. 
    Réédition
    Au cœur de la sape. Mœurs et aventures de congolais à Paris.
    Paris: Éditions l’Harmattan, 1989. 213 pp.
    ISBN 2-7384-0352-2

    TABLE DES MATIÈRES

    Jean Rouch: Préface 7
    Instantanées 17

    1 L’arrière-plan congolais 27
    Aperçu géographique 27
    Aspect ethno-démographique 28
    Approche économique 28
    Le contexte politique 32
    La société congolaise et la Sape 39
    L’émigration et le processus congolais 47

    2 Histoires de vie 53
    Un «intellectuel dévoyé» 53
    Un – «enfant gâté» 68
    Un «prolo» 81
    Térmoignage d’un Brazzavillois en vacances à Paris 87

    3 Les Aventuriers à Paris 91
    L’itinéraire de l’Aventurier 91
    L’habitat 100
    L’alimentation 110
    L’hygiène 112
    Les maladies du corps et de l’esprit 114
    La vie sexuelle 115
    Les moyens d’existence 116
    Du bon usage de l’argent 120
    Relations et fréquentations extérieures 121
    Rapports internes au milieu aventurier 125
    Ce que disent les voisins 130
    La grande ville: les itinéraires de la sociabilité et du loisir 131

    4 Des Sapeurs aux Aventuriers 135
    La mode 139
    L’élégance et son prix 142
    Le retour au pays natale: ladescente 148
    Pourquoi Paris? 150
    Un art de vivre 152
    «Grand»: le statut et les moyen d’y accéder 156
    Des marginaux? 158
    Cesser d’être Aventurier 160

    5 Quelques particularités du phénomène aventurier 165
    Au point de départ, un milieu urbain 165
    Une migration atypique 167
    Le voyage parisien comme voyage initiatique 170
    Portrait de l’Aventurier campé en «dandy» 174

    6 L’Aventure peut-elle perdurer? 177
    Au Congo 177
    En France 181
    Un pont aérien: la propagande par les chansons 184

    Conclusion 187

    Annexes 193
    Lexique 207
    Élements bibliographiques 211

  • Winders, James A.:
    Paris Africain. Rhythms of the African Diaspora.
    New York, N.Y.: Palmgrave Macmillan, 2006. 231 pp.
    ISBN 978-1-4039-6004-7

    CONTENTS

    Foreword ix
    Acknowledgments xiii

    Part I
    Apparent Embrace: Les Années Quatre- Vingt
    1 Sub-Saharan African Musicians in Paris and the
        Recent History of French Immigration 3
    2 New Immigrants, New Music, 1981-1985 21
    3 “La World Music” in Paris, 1985-1989 49

    Part II
    No Longer Welcome? The Changed Climate of the 1990s
    4 Anti-Immigrant Politics and Transformations of the Music Business, 1989-1996 79
    5 High Expectations, Dashed Hopes: The Left and African Immigration, 1997-2002 105

    Part III
    Millennial Mutations: African Parisians, Parisian Africans
    6 Paris, Dakar, and Bamako:
        New Directions in Music and Migration 143
    7 A New Politics of Space:
         Performance and Sociability 177
    8 Culture and Citizenship for a New Century 199

    Index 221

  • Reed, Daniel B.:
    Abidjan USA. Music, Dance and Mobility in the Lives of Four Ivorian Immigrants.
    Bloomington, Ind.: Indiana University Press, 2016. xxvii & 318 p.
    ISBN 978-0-253-02221-9 (cloth) 978-0-253-02229-5 (pbk) 978-0-253-2236-6 (ebook)

    CONTENTS

    Ethnomusicology Multimedia Website ix
    Preface: A Confluence of Beginnings xiii
    Acknowledgments xxiii
    Notes on Language xxvii

    Part 1 Program Notes
    1 Introduction: Abidjan USA 3
    2 “Ballet” as Nexus of Discourses 33

    Part 2 Stages and Stories
    Act 1. Vado Diomande
    3 Kekene: The Performance of Oneness in NYC 75
    4 “If You Aren’t Careful, You Don’t Know Where You Will End Up!”: 
        Vado Diomande and Transcendence 91
    Act 2. Samba Diallo    
    5 “Culture Brings Everybody Together”: Samba Diallo’s Ayoka 129
    6 “I’m Happy Because I’m Different”:
        Samba Diallo and Exceptionalism 141
    Act 3.  Sogbety Diomande    
    7 “You Know You’re in a Different Country”:
       Sogbety Diomande’s West African Drum and Dance 181
    8 “When You’re in a New Context, You Try Things That Work 
        in That Context”:  Sogbety Diomande and Adaptability 192
    Act 4. Dr. Djo Bi Irie Simon
    9 “Open Village”: An Ivorian Wedding in an Indiana Cornfield 227
    10 “Everyone Is a Cook, but He’s a Chef!”:
         Dr. Djo Bi and Innovation 243

    Part 3 Finale  
    11 Thoughts on the Way Out 279

    Glossary 285
    Notes 291
    Bibliography 299
    Index 309

  • Kelley, Michael Alexander:
    Adaptation and Creativity in Montreal’s West African Music Scene.
    M.A. University of British Colombia (Vancouver, BC), 2014. vii & 74 p.

    CONTENTS

    Abstract ii
    Preface iii
    Table of contents iv
    Acknowledgements vi
    Dedication vii

    Chapter 1
    Introduction 1
    1.1 Why African music in Montreal? 4
    1.2 Literature review 7
       1.2.1 Mande music in New York 7
       1.2.2 African music in North America 9
       1.2.3 Scenes and micromusics 14

    Chapter 2
    An Overview of Montreal’s African Music Scene 18
    2.1 Club Balattou 18
    2.2 Festival Nuits d’Afrique 20
    2.3 African music in other festivals in Québec 24
    2.4 Other venues for African music in Montreal 27
    2.5 Montreal’s African drumming and dancing schools 28

    Chapter 3
    African Styles in Montreal 30
    3.1 Mande Music as African Music 31
       3.1.1 The Role of the griot in constructing Montreal’s 
                 African music scene 33
       3.1.2 The Aestheticization of the griot in Montreal 34
       3.1.3 An Explanation for the predominance of Mande 
                music in Montreal? 38
    3.2 Alternative African styles in Montreal 43

    Chapter 4
    Québecois interpretations of African music 46
    4.1 Québecois performers of African music 48
    4.2 The Tam-tams 53
       4.2.1 History of the Tam-tams 55
    4.3 Le Grand Sabar 57

    Chapter 5
    The creative tension of Montreal’s African music scene 62

    Bibliography 67

  • Mortaigne, Veronique:
    Cesaria Evora. La voix du Cap-Vert.
    Arles: Actes Sud, 1997. 203 p.

    ISBN 2-7427-1152-X 

    afropop1995

    CONTENTS

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    Button Text: Contents
    Button Title: Click here

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    Copy “Shortcode” including square brackets e.g. Índice and inset and replace it for “Contents” in the page with book list file.

  • Kelley, Michael Alexander:
    Adaptation and Creativity in Montreal’s West African Music Scene.
    M.A. University of British Colombia (Vancouver, BC), 2014. vii & 74 p.

    CONTENTS

    Abstract ii
    Preface iii
    Table of contents iv
    Acknowledgements vi
    Dedication vii

    Chapter 1
    Introduction 1
    1.1 Why African music in Montreal? 4
    1.2 Literature review 7
       1.2.1 Mande music in New York 7
       1.2.2 African music in North America 9
       1.2.3 Scenes and micromusics 14

    Chapter 2
    An Overview of Montreal’s African Music Scene 18
    2.1 Club Balattou 18
    2.2 Festival Nuits d’Afrique 20
    2.3 African music in other festivals in Québec 24
    2.4 Other venues for African music in Montreal 27
    2.5 Montreal’s African drumming and dancing schools 28

    Chapter 3
    African Styles in Montreal 30
    3.1 Mande Music as African Music 31
       3.1.1 The Role of the griot in constructing Montreal’s 
                 African music scene 33
       3.1.2 The Aestheticization of the griot in Montreal 34
       3.1.3 An Explanation for the predominance of Mande 
                music in Montreal? 38
    3.2 Alternative African styles in Montreal 43

    Chapter 4
    Québecois interpretations of African music 46
    4.1 Québecois performers of African music 48
    4.2 The Tam-tams 53
       4.2.1 History of the Tam-tams 55
    4.3 Le Grand Sabar 57

    Chapter 5
    The creative tension of Montreal’s African music scene 62

    Bibliography 67

  • Reed, Daniel B.:
    Abidjan USA. Music, Dance and Mobility in the Lives of Four Ivorian Immigrants.
    Bloomington, Ind.: Indiana University Press, 2016. xxvii & 318 p.
    ISBN 978-0-253-02221-9 (cloth) 978-0-253-02229-5 (pbk) 978-0-253-2236-6 (ebook)

    CONTENTS

    Ethnomusicology Multimedia Website ix
    Preface: A Confluence of Beginnings xiii
    Acknowledgments xxiii
    Notes on Language xxvii

    Part 1 Program Notes
    1 Introduction: Abidjan USA 3
    2 “Ballet” as Nexus of Discourses 33

    Part 2 Stages and Stories
    Act 1. Vado Diomande
    3 Kekene: The Performance of Oneness in NYC 75
    4 “If You Aren’t Careful, You Don’t Know Where You Will End Up!”: 
        Vado Diomande and Transcendence 91
    Act 2. Samba Diallo    
    5 “Culture Brings Everybody Together”: Samba Diallo’s Ayoka 129
    6 “I’m Happy Because I’m Different”:
        Samba Diallo and Exceptionalism 141
    Act 3.  Sogbety Diomande    
    7 “You Know You’re in a Different Country”:
       Sogbety Diomande’s West African Drum and Dance 181
    8 “When You’re in a New Context, You Try Things That Work 
        in That Context”:  Sogbety Diomande and Adaptability 192
    Act 4. Dr. Djo Bi Irie Simon
    9 “Open Village”: An Ivorian Wedding in an Indiana Cornfield 227
    10 “Everyone Is a Cook, but He’s a Chef!”:
         Dr. Djo Bi and Innovation 243

    Part 3 Finale  
    11 Thoughts on the Way Out 279

    Glossary 285
    Notes 291
    Bibliography 299
    Index 309

  • Winders, James A.:
    Paris Africain. Rhythms of the African Diaspora.
    New York, N.Y.: Palmgrave Macmillan, 2006. 231 pp.
    ISBN 978-1-4039-6004-7

    CONTENTS

    Foreword ix
    Acknowledgments xiii

    Part I
    Apparent Embrace: Les Années Quatre- Vingt
    1 Sub-Saharan African Musicians in Paris and the
        Recent History of French Immigration 3
    2 New Immigrants, New Music, 1981-1985 21
    3 “La World Music” in Paris, 1985-1989 49

    Part II
    No Longer Welcome? The Changed Climate of the 1990s
    4 Anti-Immigrant Politics and Transformations of the Music Business, 1989-1996 79
    5 High Expectations, Dashed Hopes: The Left and African Immigration, 1997-2002 105

    Part III
    Millennial Mutations: African Parisians, Parisian Africans
    6 Paris, Dakar, and Bamako:
        New Directions in Music and Migration 143
    7 A New Politics of Space:
         Performance and Sociability 177
    8 Culture and Citizenship for a New Century 199

    Index 221

  • Gandoulou, Justin-Daniel:
    Entre Paris et Bakongo.
    Paris: Éditions de Centre Pompidou, 1984. 
    Réédition
    Au cœur de la sape. Mœurs et aventures de congolais à Paris.
    Paris: Éditions l’Harmattan, 1989. 213 pp.
    ISBN 2-7384-0352-2

    TABLE DES MATIÈRES

    Jean Rouch: Préface 7
    Instantanées 17

    1 L’arrière-plan congolais 27
    Aperçu géographique 27
    Aspect ethno-démographique 28
    Approche économique 28
    Le contexte politique 32
    La société congolaise et la Sape 39
    L’émigration et le processus congolais 47

    2 Histoires de vie 53
    Un «intellectuel dévoyé» 53
    Un – «enfant gâté» 68
    Un «prolo» 81
    Térmoignage d’un Brazzavillois en vacances à Paris 87

    3 Les Aventuriers à Paris 91
    L’itinéraire de l’Aventurier 91
    L’habitat 100
    L’alimentation 110
    L’hygiène 112
    Les maladies du corps et de l’esprit 114
    La vie sexuelle 115
    Les moyens d’existence 116
    Du bon usage de l’argent 120
    Relations et fréquentations extérieures 121
    Rapports internes au milieu aventurier 125
    Ce que disent les voisins 130
    La grande ville: les itinéraires de la sociabilité et du loisir 131

    4 Des Sapeurs aux Aventuriers 135
    La mode 139
    L’élégance et son prix 142
    Le retour au pays natale: ladescente 148
    Pourquoi Paris? 150
    Un art de vivre 152
    «Grand»: le statut et les moyen d’y accéder 156
    Des marginaux? 158
    Cesser d’être Aventurier 160

    5 Quelques particularités du phénomène aventurier 165
    Au point de départ, un milieu urbain 165
    Une migration atypique 167
    Le voyage parisien comme voyage initiatique 170
    Portrait de l’Aventurier campé en «dandy» 174

    6 L’Aventure peut-elle perdurer? 177
    Au Congo 177
    En France 181
    Un pont aérien: la propagande par les chansons 184

    Conclusion 187

    Annexes 193
    Lexique 207
    Élements bibliographiques 211

  • Betote, Bill Akwa & Frank Tenaille:
    Musafrica. Portraits de la musique africaine.
    Paris: Éditions du Layeur, 2001. 95 p.
    ISBN 2-911468-69-4
    Documentation photographique – concerts avec des musiciens  africains en France.

    TABLE DES MATIÈRES

    Frank Tenaille
    Bill Akwa Betote Photographe – Griot 5

    Doudou N’Diaye Rose 13
    Les Têtes Brûlées 14
    Benjamin-Jules Rosette 15
    Moussa Sissoko 16
    Show d’Ali Baba 17
    Bébé Manga 18
    Aïcha Koné 19
    Myriam Makeba 20
    Féla Anikulapo Kuti 21
    Kalaghan 22
    Ambiance zaïroise 23
    Baaba Maal 24
    Choristes de Mory Kanté 25
    Ooleya Mint Amartichitt 26
    Docteur Nico 27
    Bovic Shamar 38
    Alpha Blondy 28
    Angélique Kidjo 29
    Femmes Touaregs du Niger 30
    Danseuse de Mory Kanté 31
    Doumbélane 32
    Bonga & Steve Potts 33
    Dimi Mint Abba 34
    Kaloum Star 35
    M’Pongo Love & Nimon Toki Lala 36
    Des griottes maliennes 37
    Bidew Bou Bess, Positive Black Soul & Daara J 38
    Zap Mama 39
    Gilbert Gil Umbelina 40
    Geoffrey Oryema 41
    Jean Emilien 42
    Boncana Maïga 43
    Ismaël Lô 44
    Manu Dibango 45
    Colenso Abafana Benkokhelo 46
    Les Officiers de la Musique 46
    Ambiance guinéenne 47
    Abdullah Ibrahim (Dollar Brand) 48
    Hugh Masékéla 49
    Willy N’For 50
    Mahotella Queens 51
    Rakoto Frah 52
    Eusèbe Jaojoby 53
    N’Zongo Soul 54
    Nahawa Doumbia 55
    Tabu Ley Rochereau 56
    Papa Wemba 57
    Remy Ongala 58
    Princess Erica 59
    Les ballets Lemba 60
    Tambourinaires du Burundi 61
    Granmoun Lele 62
    Salif Keita 63
    Les Merveilles de Guinée 64
    Thomas Mapfumo 65
    Stella Chiweshe 66
    Youssou N’Dour 67
    Ami Koita 68
    Mbilia Bel 69
    Zaiko Langa-Langa 70
    Zao 71
    Tam-tam pour l’Ethiopie 72
    Lapiro de Manga, Ray Lema & Manu Dibango 73
    Abeti Masikini & Georges Seba 74
    M’Pongo Love 75
    Cesaria Evora 76
    Mamadou Konté 77
    Lokua Kanza 78
    Mory kanté 79
    Franco 80
    Aminata Fall 81
    Cheikh Tidiane Seck 81
    Emoro 82
    Ambiance « circuit » 83
    Sekou Diabate 84
    Les Tambours de Brazza 85
    Danyel Waro & Firmin Viry 85
    Mahmoud Ahmed 86
    Oumou Sangare 87
    Johnny Clegg 88
    Mikidache  & Pascal Pallisco 89
    Wendo & Anne-Marie Nzié 89
    Justin Vali 90
    Mama Ohandja 90
    Ali farka Touré 91
    Wally Badarou 92
    Tony Allen 93
    Boubacar Traoré 84
    Frank Tenaille, Philibert Rabezaoza & Bill Akwa Betote 95

  • Berna, Marianne [Text] & Bill Akwa Betote [Fotografie]:
    Paris wie die Wilden. Afrika – seine Musik – ihre Metropole.
    Zürich: Eco-Verlag, 1991. 208 p.
    ISBN 3-85647-105-7

    INHALT

    Vorwort  9

    1. Sahel – Paris einfach! Einfach!!  11
    Wie die Têtes Brúlées aus der Chacal-Bar in Yaoundé nach Paris gerieten. Träume, Mythen, Phantasien und Projektionen über die »métropole«. Infrastruktur; Zentralismus; warum Paris und nicht London? Erste, zweite, dritte Einwandererwelle; zweite Generation.

    2. Stadt des Lichts Oder: Viel Licht wirft viel Schatten  27
    Wohnen in Paris: Quartiere (11., 18., 20. Arrondissement); Banlieues; Foyers. Paperassen – legal, illegal, scheissegal,
    wenn man kaum lessen kann. Frankreichs Einwandererpolitik;
    Jack Lang; Rassismus.

    3. Ambiance! 39
    La Fête: Boîtes, Restaurants, Konzertlokale. Tauten und
    Kellertreffs, »les circuits”.

    4. Arbeit? Business! 52
    Jobs, Arbeitslosigkeit. Die Musikmafia: Plattenfirmen, Konzertpromoteure, Manager.

    5. Auf Tournee 69
    Wozu ûberhaupt? Platten unter die Leute bringen. Das afrikanische Gruppenverhalten. Wenn die Band beim Manager wohnt…

    6. Einer unter vielen, Erster unter Gleichen: Mory Kante 81
    Ein Portrât

    7. Trommeln und TV – die Medien 95
    Das Buschtelefon. Die Radios libres. Jeune Afrique, Africa International, Bingo etc. Die französische »Normal«-Presse (Liberation, Actuel etc.).

    8. Kleines Who’s Who in Schwarzweiss 107
    – Bill Akwa Betote, Fotograf (dieses Buches), Musiker, 
       Kaufmann, Prinz
    – Philippe Conrath, Journalist, Trendsetter und Plattenverleger
    – Francis Bebey, Musiker, Journalist, Schriftsteller
    – Kim Keliba, Radiofrau, Wirtin, Vertrauensperson
    – Mamadou Konte, Konzert-Veranstalter, Manager

    9. Die Inseln ûber dem Winde und das Reich Rachid Babas 119
    Les Antillais: Franzosen auf dem Papier. Aber schwarz. Und: die »Araber«.

    10. Die Frau meines Mannes 129
    Frauen. Polygamie. Ehefrau – kein einfacher Beruf. Und dann noch schwarz… Musikerinnen, mit der Lupe zu suchen.

    11. Begegnungen der dritten Art 147
    Der Mythos des schwarzen Mannes, der Mythos der weissen Frau. Der Aufriss. Polygamie (nochmals). Sexualitât in schwarzen Kulturen, zu hören in schwarzen Musiken. Sex, Liebe, Ehe und Scheidung. »Als nächsten Ehemann möchte ich einen Bamiléké«.

    12. Schön sein 161
    Die Körperästhetik der Schwarzen. La SAPE, »Société des Ambianceurs et Personnes Elégantes«: aus Klamotten einen Lebensinhalt machen.
    Coiffeursalons, Kosmetik, Mode.

    13. Nicht mehr wichtiger als die Farbe der Augen 173
    »Métissage«, Vermischung. Endlich gehen die Einflüsse nicht mehr nur in eine Richtung. Kulturverlust?

    14. Kleiner Führer durchs schwarze Paris* 183
    Boîtes, Restaus, Adressen, Tips, Radiofrequenzen, wo sich informieren. Dazu ausgewählte Platten und ein paar Bücher zum Weiterlesen. Eine Starthilfe.

    Wer sind sie? ** 193
    Musikerinnen und Musiker, Gruppen, Persönlichkeiten kurz beschrieben.

    Glossarium***  205
    All die fremden Ausdrucke erklart

    *   im Text Namen fett kursiv gedruckt
    **  im Text Namen fett hervorgehoben
    *** im Text Ausdrücke in Kursivschrift

  • Day, Julia G.:
    “Cause this is Africa”: Contesting Visual, Sonic, and Performed Representations
    of Africa in Paris, Montreal, and the 2010 South African World Cup.

    Ph.D. University of Washington (Seattle, Wash.), 2017. xi & 218 p.

    CONTENTS

    Abstract iii
    Table of Contents vi
    Preface ix

    Chapter One
    Introduction 1
    Representation and Scholarship on Africa 3
    Representation and Ethnomusicology 4
    African Popular Music 6
    Afropolitanism and the World in Movement 8
    Diaspora, Transnationalism, and Cosmopolitanism 11
    Overview of the Sites 15
    Sound as a Site of Representation 15
    Paris, France 17
    Montreal, Canada 22
    Methods 26
    Overview of the Chapters 29

    Chapter Two
    Making Space and Facilitating Contact Zones in
    Five Paris Museums
    32
    Contact Zones and Space as Practiced Place 33
    Reifying Place and Representing Africa:
    Musée du Quai Branly 37
    Museum Events that Facilitate Space-making 44
    Reclaiming a Colonial Site:
    La Cité Nationale de l’Histoire de l’Immigration 45
    Resisting Negative Representation:
    Banlieue is Beautiful 50
    Rejecting Power Through Nostalgia:
    Le Petit Musée de la Françafrique 56
    Music and Performance at Museums as Process:
    The Great Black Music Exhibit and the African Remix
    Concert Series at Cité de la Musique 59
    Conclusion 72

    Chapter Three
    Representing an Elite Afropolitan Paris
    through Coupé-Décalé
    74
    Ivorian Politics and Music since 1960 76
    Coupé-Décalé and the Myth of an African Paris 81
    “Sagacité,” Douk Saga and the Jet Set (2003) 83
    “Voilà String,” Meiway (2004) 89
    “Gbinchin Pintin,” DJ Arafat (2014) 95
    Afropolitan Space in the City of Lights 102
    Mapping African Venues in Paris 104
    Conclusion 109

    Chapter Four
    Performing Future Québécois Identities at
    the Festival International Nuits d’Afrique
    111
    Music Festivals as Sites of Cultural Production and
    Québécois Interculturalism 114
    Performing Past Heritage: Music, Festivals, and Identity
    in Quebec 119
    Performing Future Identities: Interculturalism and Festival
    International Nuits d’Afrique 125
    Asserting Interculturalism through Performances of
    African Music 129
    Les Lions Noirs: Performing a Shared Québécois
    Cultural Identity 130
    Doussou Koulibaly: Performing Gender Equality 132
    Gokh-Bi System: Balancing Heritage of the Past with
    Innovation for the Present 136
    Black Bazar: Celebrating African Immigrants 139
    Conclusion 142

    Chapter Five
    Representing Africa Sonically through the Mbube Topid 144
    Semiotics, Topic Theory, and the Mbube Topic 147
    About the Transcriptions 152
    “Mbube”: From Song to Genre to Topic 154
    Solomon Linda’s Original Evening Birds 155
    Paul Simon and Graceland 159
    The Mbube Topic Normalized: Disney’s The Lion King 164
    “Wavin’ Flag (Celebration Mix)” Performed by K’Naan 167
    “Waka Waka (This Time for Africa)” Performed by Shakira 176
    From “Zangelewa” to “Waka Waka” 178

    Conclusion 197

    Epilogue 199

    Bibliography 201
    Discography 213

    Appendix A 214
    Appendix B 217

  • Johnson, John William:
    ‘Heelloy’. Modern Poetry and Songs of the Somalis.
    London: HAAN Publishing, 1998. xxiii & 241 p.
    ISBN 978-1-874-20981-2

    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

  • Collins, [Edmund] John:
    Fela. Kalakuta Notes. 2nd edition
    Middletown, Conn.: Wesleyan University Press, 2015.  xii & 326 p.
    ISBN 978-0-8195-7539-5 (paper) 978-0-8195-7540-1 (ebook)

    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

  • Erlmann, Veit (ed.):
    Populäre Musik in Afrika.

    Veröffentlichungen des Museum für Völkerkunde.
    Neue Folge 53. Abteilung Musikethnologie VIII.
    Berlin: Museum für Völkerkunde, 1991. 312 pp. & 2 CDs.
    ISBN 3-88609-213-5

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  • Mortaigne, Veronique:
    Cesaria Evora. La voix du Cap-Vert.
    Arles: Actes Sud, 1997. 203 p.

    ISBN 2-7427-1152-X 

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  • Sweeney, Philip:
    Directory of World Music. A Guide to Performers and their Music.
    With Contributions from Peter Gabriel, Andy Kershaw, Giberto Gil [&] Manu Dibango.
    London: Virgin Books, 1991. 262 p.
    Section Africa 1-81
    ISBN 0-86369-378-4

    sweeney1991CONTENTS

    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

  • Lee, Hélène:
    Rockers d’Afrique. Stars et légendes du rock mandinque.
    Paris: Albin Michel, 1988. 223 pp.
    ISBN 2-226-03 139-1 

    TABLE DE MATIÈRESafropop1995

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