Among the fields of music study, ethnomusicology has wrestled most self-consciously with matters of representation. Since its inception in the late nineteenth century as vergleischende Musikwissenschaft [comparative musicology] and throughout its turbulent history, ethnomusicology has been centrally and vitally concerned with at least three basic issues and their numerous ramifications. First is the problem of locating disciplinary boundaries: is ethnomusicology a subfield of musicology, does it belong under anthropology or ethnology, or is it an autonomous discipline?1 Second is the (...) problem of translation: what factors influence the attempt to translate the reality of other musical cultures into audio and visual recordings, verbal accounts, and transcriptions in musical notation? Is there a viable “theory of translatability”?2 Third is a network of political and ideological matters: what sorts of ethical issues constrain the practical effort to understand another culture? What is the relation between empire and ethnomusicological representation? Can we—that is, is it a good thing to—study any music without taking note of the social, economic, political, and technological circumstances of its producers? 1. A concise introduction to the field of ethnomusicology, its history, personalities, and method may be found in Barbara Krader, “Ethnomusicology,” in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols. , 6:275-82. The most comprehensive recent discussion of key issues in ethnomusicological research is Bruno Nettl, The Study of Ethnomusicology: Twenty-nine Issues and Concepts .2. See Johannes Fabian, Time and the Other: How Anthropology Makes Its Object , p. 43. Kofi Agawu teaches at Cornell University and is the author of Playing with Signs: A Semiotic Interpretation of Classic Music. (shrink)

In the tradition of African musicologists who have pioneered serious scholarly study of African music, notably J.H. Kwabena Nketia, this extended essay considers the subject of aesthetic value in African music, in particular, in the Ewe and Akan (Ghanaian) traditions. It examines African - as compared with Western - ideas about musical experience and its appeal; and music in relation to values, morality and human emotion.

This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African (...) nation states and its specific ability to absorb and incorporate elements of Western culture. -/- After a short discussion of African influences on jazz music in general and the socio-political, cultural, and artistic context in which Free Jazz emerged, examples for the articulation of African consciousness among influencing key figures such as saxophonist John Coltrane or the Art Ensemble of Chicago are being presented. Furthermore, the personal and ideological links between the Avantgarde Jazz-scene and the Black Power-movement - especially the Black Panther Party - are made transparent. -/- In a second step the central influence of the Nigerian drum-pioneer Babatunde Olatunji on the Africanization of US-Jazz musicians, his personal and creative impact on John Coltrane, as well as the Black Power-movement is being highlighted. On the other hand, Coltrane, Free Jazz, and the Black Panther Party are being portrayed as a central creative and ideological turn in the career and work of Fela Kuti and towards political activism and his efforts to implement and apply the Africa-inspired Black Power -struggle of the US on the African continent in order to fight post-colonial forms of oppression. -/- . (shrink)

While the field of aesthetics has long been dominated by European philosophy, recent inquiries have expanded the arena to accommodate different cultures as well as different definitions. In this volume, scholars and teachers in the fields of African and African American studies advance the debate over the nature of African aesthetics, approaching the subject from a broad range of disciplines. Dance, music, art, theatre, and literature are examined in order to appreciate and delineate the specific qualities (...) and aspects of African aesthetics; additionally, theoretical concepts and issues are discussed to define more clearly the meaning of an "African aesthetic.". (shrink)

The history of the human world has reached a stage where no philosophical community can any longer philosophize in isolation from other philosophical communities. The African philosophical community is not an exception and neither is any other philosophical community. There is a widespread notion in the West that philosophy originated in Greece and found its way throughout Europe, from where it migrated to Africa. This book argues that Philosophy did not migrate to African from anywhere but that it (...) is radically native to all communities. The chapters cover the erasure of African philosophy, African philosophical departures, the threat that Christianity has posed to African philosophy, African legal philosophy, African musical aesthetics and connections with classical philosophy. Arguing that the landscape of philosophy has a place not only for Africans but also for all human beings and that African philosophers are among the architects of this landscape, this book is an important read for scholars and students of African philosophy. (shrink)

Much of the literature on the African philosophy of education juxtaposes two philosophical strands as mutually exclusive entities; traditional ethnophilosophy on the one hand, and ‘scientific’ African philosophy on the other. While traditional ethnophilosophy is associated with the cultural artefacts, narratives, folklore and music of Africa’s people, ‘scientific’ African philosophy is primarily concerned with the explanations, interpretations and justifications of African thought and practice along the lines of critical and transformative reasoning. These two alternative strands (...) of African philosophy invariably impact understandings of education in different ways: education constituted by cultural action is perceived to be mutually independent from education constituted by reasoned action. Yusef Waghid argues for an African philosophy of education guided by communitarian, reasonable and culture dependent action in order to bridge the conceptual and practical divide between African ethnophilosophy and ‘scientific’ African philosophy. Unlike those who argue that African philosophy of education cannot exist because it does not invoke reason, or that reasoned African philosophy of education is just not possible, Waghid suggests an African philosophy of education constituted by reasoned, culture-dependent action. This book provides an African philosophy aimed at developing a conception of education that can contribute towards imagination, deliberation, and responsibility - actions that can help to enhance justice in educative relations, both in Africa and throughout the world. This book will be essential reading for researchers and academics in the field of the philosophy of education, especially those wanting to learn from the African tradition. (shrink)

Much of the literature on the African philosophy of education juxtaposes two philosophical strands as mutually exclusive entities; traditional ethnophilosophy on the one hand, and ‘scientific’ African philosophy on the other. While traditional ethnophilosophy is associated with the cultural artefacts, narratives, folklore and music of Africa’s people, ‘scientific’ African philosophy is primarily concerned with the explanations, interpretations and justifications of African thought and practice along the lines of critical and transformative reasoning. These two alternative strands (...) of African philosophy invariably impact understandings of education in different ways: education constituted by cultural action is perceived to be mutually independent from education constituted by reasoned action. Yusef Waghid argues for an African philosophy of education guided by communitarian, reasonable and culture dependent action in order to bridge the conceptual and practical divide between African ethnophilosophy and ‘scientific’ African philosophy. Unlike those who argue that African philosophy of education cannot exist because it does not invoke reason, or that reasoned African philosophy of education is just not possible, Waghid suggests an African philosophy of education constituted by reasoned, culture-dependent action. This book provides an African philosophy aimed at developing a conception of education that can contribute towards imagination, deliberation, and responsibility - actions that can help to enhance justice in educative relations, both in Africa and throughout the world. This book will be essential reading for researchers and academics in the field of the philosophy of education, especially those wanting to learn from the African tradition. (shrink)

Part I Philosophic Traditions Introduction to Part I 3 1 Philosophy and the Afro-American Experience 7 CORNEL WEST 2 African-American Existential Philosophy 33 LEWIS R. GORDON 3 African-American Philosophy: A Caribbean Perspective 48 PAGET HENRY 4 Modernisms in Black 67 FRANK M. KIRKLAND 5 The Crisis of the Black Intellectual 87 HORTENSE J. SPILLERS Part II The Moral and Political Legacy of Slavery Introduction to Part II 107 6 Kant and Knowledge of Disappearing Expression 110 RONALD A. T. (...) JUDY 7 Social Contract Theory, Slavery, and the Antebellum Courts 125 ANITA L. ALLEN AND THADDEUS POPE 8 The Morality of Reparations II 134 BERNARD R. BOXILL Part III Africa and Diaspora Thought Introduction to Part III 151 9 “Afrocentricity‘: Critical Considerations 155 LUCIUS T. OUTLAW, JR. 10 African Retentions 168 TOMMY L. LOTT 11 African Philosophy at the Turn of the Century 190 ALBERT G. MOSLEY Part IV Gender, Race, and Racism Introduction to Part IV 199 12 Some Group Matters: Intersectionality, Situated Standpoints, and Black Feminist Thought 205 PATRICIA HILL COLLINS 13 Radicalizing Feminisms from “The Movement Era‘ 230 JOY A. JAMES 14 Philosophy and Racial Paradigms 239 NAOMI ZACK 15 Racial Classification and Public Policy 255 DAVID THEO GOLDBERG 16 White Supremacy 269 CHARLES W. MILLS Part V Legal and Social Philosophy Introduction to Part V 285 17 Self-Respect, Fairness, and Living Morally 293 LAURENCE M. THOMAS 18 The Legacy of Plessy v. Ferguson 306 MICHELE MOODY-ADAMS 19 Some Reflections on the Brown Decision and Its Aftermath 313 HOWARD McGARY 20 Contesting the Ambivalence and Hostility to Affirmative Action within the Black Community 324 LUKE C. HARRIS 21 Subsistence Welfare Benefits as Property Interests: Legal Theories and Moral Considerations 333 RUDOLPH V. VANTERPOOL 22 Racism and Health Care: A Medical Ethics Issue 349 ANNETTE DULA 23 Racialized Punishment and Prison Abolition 360 ANGELA Y. DAVIS Part VI Aesthetic and Cultural Values Introduction to Part VI 373 24 The Harlem Renaissance and Philosophy 381 LEONARD HARRIS 25 Critical Theory, Aesthetics, and Black Modernity 386 LORENZO C. SIMPSON 26 Black Cinema and Aesthetics 399 CLYDE R. TAYLOR 27 Thanatic Pornography, Interracial Rape, and the Ku Klux Klan 407 T. DENEAN SHARPLEY-WHITING 28 Lynching and Burning Rituals in African-American Literature 413 TRUDIER HARRIS-LOPEZ 29 Rap as Art and Philosophy 419 RICHARD SHUSTERMAN 30 Microphone Commandos: Rap Music and Political Ideology 429 BILL E. LAWSON 31 Sports, Political Philosophy, and the African American 436 GERALD EARLY. (shrink)

This paper explores the continued reliance of the music of the Black Atlantic on oral rather than literate forms, and elaborates the thesis that African music in modern culture exemplifies an alternative to the culture of modern industrial society. A critical reappraisal of the work of Alaine Locke, Paul Gilroy, and John Dewey is used to extend our appreciation of pragmatism from its usual focus on science and technology to a more inclusive focus on art and the (...) social value of music. (shrink)

This article examines Djanet Sears’ Afrika Solo (1990), the first published play by an African Canadian woman, as an example of African diasporic writing in Canada. Now one of Canada's most celebrated playwrights, and a leading figure in the recent popularity and success of African Canadian theatre in the last decade, Sears began her dramatic exploration of African Canadian identity in her semi-autobiographical play Afrika Solo, first produced in 1987. As I intend to argue, the play's (...) musical score and its use of stage space problematizes the notion of static cultural origins often associated with the Canadian multicultural discourse of hyphenated identities by pointing to the many cross-cultural and transnational sites that shape constructions of African Canadian identity. In so doing, the play develops an innovative diasporic aesthetic that can be placed within a larger cultural tradition of African diasporic representation theorized by Rinaldo Walcott, Paul Gilroy, and Dionne Brand. (shrink)

What Makes That Black? The African American Aesthetic in American Expressive Culture delineates the African-American aesthetic in both the African-American culture and the artistic cultural formation of the United States. It presents a definition of the African-American aesthetic using a typology of seventy-four tenets-markers that expand the aesthetic's definition to include its artistic structure, cultural function, and consciousness.¿The book is both anecdotal and scholarly, creating an accessible dialogue in a research area sometimes burdened by excessive scholarly (...) nomenclature. The power of story (art) reaches into cognitive spaces and impact understandings unreachable by linear academic argument. ¿Physical features such as images, links to visual media, glossary, bibliography, and index make the project easier for teachers/students to use.¿The book approaches the African-American Aesthetic from wide-ranging sources, cross-referencing literature, dance, oration, music, dress, sub-Saharan African aesthetics, scholarly text, visual arts, athletics, children's games, and anecdotal accounts. (shrink)

In Cameroon, a monumental "statue of liberty" is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the (...) contributors engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl's photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans' Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising "morality" plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly "African" aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

This exploratory study engages with eight case studies of music performances broadcast online to investigate the role of music in facilitating social cohesion, intercultural understanding and community resilience during a time of social distancing and concomitant heightened racial tensions. Using an online ethnographic approach and thematic analysis of video comments, the nature of audience engagement with music performances broadcast via YouTube during COVID-19 lockdown of 2020 is explored through the lens of ritual engagement with media events and (...) models of social capital. The eight case studies featured virtual choirs, orchestras and music collaborations of various genres, including classical, pop and fusion styles drawing from European, Asia Minor, South African, West African, North African, Arabic, South Asian, and East Asian cultural origins. Five overarching themes resulted from thematic analysis of video comments, including Interaction, Unity, Resilience, Identity, and Emotion. The paper contributes important theorisation that ritual engagement and social learning fosters intercultural understanding through engaging with music both cognitively and emotionally, which can in turn shape both individual and collective identity. Online platforms provide scope for both bonding and bridging opportunities. Community resilience is supported through the sharing of knowledge, sustaining music practice during social distancing, as well as emotional support shared among audience participants, with potential wellbeing outcomes. (shrink)

Fiston Mujila’s Tram 83 provides a helpful point of departure for this philosophical treatment of pan-African subjectivity. His meditations on music resonate with continental and diasporic accounts of the musicality of African social organization. This in turn provides an opening into a discussion around the tension between conceptions of African identity tied to heritage and continuity on one hand, and considerations of the rupture brought about by the Middle Passage and colonialism on the other. Drawing on (...) African philosophy and Black Studies more broadly, this article argues for a conception of African identity that, while taking seriously heritage and origins, ultimately emerges intersubjectively as a result of the movements and reverberations across the constellation of African worlds. Not only are these pan-African reverberations constitutive, the author argues that they are also key to our survival. (shrink)

Publication date: 21 March 2019 Source: Author: Remi Chukwudi Okeke The impact of music on politics in Africa has seemingly remained dominant. But the overall sway of the African political processes has also become bewildering. The panacea to the disconcerting results of these political procedures in Africa is the adequate levels of social mobilization, while music ostensibly mobilizes massively. This chapter thus examines the linkages among politics, music and social mobilization in Nigeria. Framed on the hypothesis (...) that the relationship among politics, music and social mobilization in Nigeria is now downbeat and using the elite theoretical and the political economy frameworks of analyses, the authors study the intervening factors responsible for the observed gloom in what had amounted to progressive relationships among politics, music and social mobilization in Nigeria and the wider continent. The research setting is qualitative. The chapter delves into its premises through the historical and descriptive research methodologies and logical argumentation. (shrink)

This paper is a historical analysis of the contributions of music artistes to the idea of development in Africa in the period between 1974 and 1987. Itseeks to show that concern for the development of the continent was not confined to the intellectual community. Music artistes were not merely interested in entertainment; they also paid attention to the real problems that confronted the society of their time, thereby sharing in the concern of political thinkers of all ages. The (...) works of three artistes - Sonny Okosun, Fela Anikulapo-Kuti and Bob Marley - are selected for detailed examination, although references are made to other artistes. The study depended on primary and secondary source material. The paper is a contribution to knowledge in the field of African Political Thought. (shrink)

ASHÉ: Ritual Poetics in African Diasporic is a collection of interdisciplinary essays contributed by international scholars and practitioners. Having distinguished themselves across such disciplines as Anthropology, Art, Music, Literature, Dance, Philosophy, Religion, and Theology and conjoined to construct a defining approach to the study of Aesthetics throughout the African Diaspora with the Humanities at the core, this collection of essays will break new ground in the study of Black Aesthetics. This book will be of great interest to (...) scholars, practitioners, and students interested in tracing African heritage identities throughout the African Diaspora through close examination of a variety of discourses directly connected to expressive elements of cultural production and religious rituals. (shrink)

ASHÉ: Ritual Poetics in African Diasporic is a collection of interdisciplinary essays contributed by international scholars and practitioners. Having distinguished themselves across such disciplines as Anthropology, Art, Music, Literature, Dance, Philosophy, Religion, and Theology and conjoined to construct a defining approach to the study of Aesthetics throughout the African Diaspora with the Humanities at the core, this collection of essays will break new ground in the study of Black Aesthetics. This book will be of great interest to (...) scholars, practitioners, and students interested in tracing African heritage identities throughout the African Diaspora through close examination of a variety of discourses directly connected to expressive elements of cultural production and religious rituals. (shrink)

In Cameroon, a monumental “statue of liberty” is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the (...) contributors engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl’s photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans’ Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising “morality” plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly “African” aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Susan Laird, “Musical Hunger: A Philosophical Testimonial of Miseducation”Heidi WesterlundCan hunger and satisfaction, which according to John Dewey form “the arsis and thesis of a child’s life,”1 create the rhythm and heartbeat of music education? Susan Laird shows us through her autobiographical experiences how this heartbeat was missed in her case, while the undertone of her narrative and testimonial begs a wider self-reflection upon the (...) culture of music education. Indeed, Laird’s testimonial assumes that musical hunger has something to do with professional music educators; that musical hunger and satisfaction while setting the beat for a person’s musical life are not simply biological functions—something that exists and stays no matter how and what the person is fed or where and with whom the person eats. As Dewey wrote,[t]he very tendency of the child, while hungry, to recall his previous satisfaction, and to anticipate the coming one, is the beginning of the recognition of time. It grows more definite and accurate just in the degree in which all experiences are related to each other as members of one whole.2The imaginative musical dinner table that Laird’s testimonial lays out calls for music educators to reflect upon what kind of meal is served, not only from their own perspective but also from that of their students. Yet, reconstructing the menu is demanding in a profession that struggles with the pros and cons of a tradition in which teachers have learnt to teach in the same way that they themselves have been taught, also teaching using the same order in which they have learned—only hoping to do it more effectively.Quite recently, when visiting the recording studio at the Sibelius Academy department of music education to listen to one of my student’s work with her own rock band, I was reminded by my own remembrances of the difficulty, as well as the necessity, of reconstructing traditions in music teacher education. My thoughts led me fleetingly back to the ‘70s when making arrangements, improvisations, or working in recording studios were part of my musical life, until they were overwhelmed by the then-prevalent diet of professional music studies. Although my experiences of general music education were similar to those of Laird, teachers in the specialized music school fed me with goal-directed instruction in more than one instrument, in music theory, solfege, and the history of Western [End Page 81] art music. Looking back, however, I was lucky in more ways than one: my adolescent leisure time was blessed with numerous choirs, orchestras, and gigging bands—bringing a self-organized satisfaction and motivation to all kinds of music and musical activities. Multiple diets were feeding my musical life: I obtained the strengthening vitamin drops and enjoyed my self-made smorgasbord with family and friends, none of which had been enough by themselves to lead me into the profession. Yet, when entering the university to pursue my professional music studies, I experienced events in reverse order to that which Lucy Green describes in How Popular Musicians Learn.3 As I then did not have a piano of my own, I only had the opportunity to practice what was necessary for exams and so I practically stopped playing for fun. I also realized that not all flute teachers were able to accompany their students as did my first teacher, and so I had to play my flute repertoire for most of the year only imagining how the pieces would sound as a whole with no community with whom to share the joy of music making. While watching my student working in front of the studio desk searching for the right bass sound for her own song—a song that she was performing with friends and fellow students—to give the song the final touch for her work for the pedagogy of African-American music (popular music) course, to my own surprise I suddenly felt a long-forgotten hunger and desire. I was reminded of the challenges facing teacher education in exemplifying by its own practices a music education that does not take for granted that particular subject content or official... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or (...) watching TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

The Christian church has always lived in tension between its global and its local identities, between gospel and culture. One aspect in which this tension plays out is in worship music. As the gospel came to them, many African churches adopted a North American/european form of song, ignoring or neglecting their local, traditional music. They opted for a more global identity and minimized their local identity. The church amongst the Songhai of West Africa is an example of (...) this phenomenon. A church that neglects its local identity, however, has little appeal to the surrounding society and loses its prophetic voice to the community. Resolving the tension between the two identities is an important matter for every church. Thinking through worship music practices plays a key part in resolving this tension. A tool called the ‘logophonic’ principle may be of help in this regard. The tool looks at both words and sounds to reexamine and renew worship practices and craft new music for congregations. This article explains how this tool might work and urges the necessity of good theological thinking and about worship and worship music. (shrink)

: It is argued here that part of the attraction of African music in the Atlantic Diaspora is its roots in an oral tradition in which agency is often more important than words. This makes it possible for the music to have a moral significance, not merely with respect to the verbal content of the words of songs but also with respect to the manner in which it is composed and performed. As such, a performance may be (...) liberating, even when the words used in the performance are not. By reinforcing elements of the oral tradition in a culture based on notational literacy, the music of the Black Atlantic exemplifies an alternative to ideals embodied in a technological culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or (...) watching TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

An artistic discussion on the critical potential of African American expressive culture In a major reassessment of African American culture, Phillip Brian Harper intervenes in the ongoing debate about the “proper” depiction of black people. He advocates for African American aesthetic abstractionism—a representational mode whereby an artwork, rather than striving for realist verisimilitude, vigorously asserts its essentially artificial character. Maintaining that realist representation reaffirms the very social facts that it might have been understood to challenge, Harper contends (...) that abstractionism shows up the actual constructedness of those facts, thereby subjecting them to critical scrutiny and making them amenable to transformation. Arguing against the need for “positive” representations, Abstractionist Aesthetics displaces realism as the primary mode of African American representational aesthetics, re-centers literature as a principal site of African American cultural politics, and elevates experimental prose within the domain of African American literature. Drawing on examples across a variety of artistic production, including the visual work of Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the prose and verse writings of Ntozake Shange, Alice Walker, and John Keene, this book poses urgent questions about how racial blackness is made to assume certain social meanings. In the process, African American aesthetics are upended, rendering abstractionism as the most powerful modality for Black representation. (shrink)

"Sponsored by the Quadrant Global Cultures group... and by the Institute for Global Studies at the University of Minnesota.".

In Zimbabwe, popular music, particularly the Zimdancehall music genre, has become a cultural site where Shona moral values clash with explicit sexual lyrical content despite a censorship regime in the country. This article examines the nature and cultural consequences of the moral decadence that emerges in popular Zimdancehall song lyrics by several musicians. The article illustrates how vulgar language popularises Zimdancehall songs in unheralded ways that foster identities laced with cultural ambivalences that may portray the artists as both (...) famous and depraved. This qualitative study does textual and content analysis of 11 purposively sampled songs with sex terms to elucidate the cultural inconsistencies in Zimdancehall song narratives. Analysis is informed by the Neuro-Psycho-Social theory, which recognises how socio-cultural restrictions are challenged by an emerging ghetto culture like new wine in old bottles. Alternative unsanctioned new popular music genres can be used to permeate the sociocultural system. (shrink)

The author reflects on the reality of nepotism in Christian leadership as he has observed in the township of Soshanguve and many other African poverty-stricken communities he has lived in. The leadership of churches in those areas seems to run in the family. This model tends to have a disempowering effect on the other church members in terms of taking responsibility or initiating projects that could expand the impact of the church beyond the borders of its walls. This article (...) recognises the positive impact of nepotism, but it mostly stresses on the negative impact of nepotism on the democratisation of power in the church and society. It uses music, a critical vehicle of knowledge acquisition in Africa, to stress upon the fact that Christian leaders should be equipped to participate in the common good, help in the empowerment of ordinary people around them, starting with their members and be altruistic, like Jesus, and work beyond the boundaries of their families. (shrink)

Black Utopias posits a concept of utopia made possible by black people's exclusion from the human and expressed through the ecstatic practices, community creation, speculative fiction and music. Jayna Brown explores the practices and works of 19th century black women mystics as well as 20th century musicians and speculative fiction writers including mystics Sojourner Truth and Rebecca Cox Jackson, musicians Alice Coltrane and Sun Ra, and writers Samuel Delany and Octavia Butler.

In lieu of an abstract, here is a brief excerpt of the content:Pax Americana and the World of Music EducationEstelle R. Jorgensen (bio)It may seem ironic to speak of a Pax Americana at a time when the United States is prosecuting a war and its aftermath.1 Still, imperialism, or the desire to keep the peace on one's own terms, has led other nations into war when their will and power was frustrated and thwarted. My purpose in this essay is (...) to raise four important and interrelated questions: What are the political tasks that hopeful music teachers, administrators, and those interested in their work need to undertake to pursue an ethically universalistic, democratic, and humane education? What are some guiding principleswhereby music educators and policy-makers can navigate this territory? What are the conditions that would facilitate educational dialogue of the sort that is needed? How should music to be taught in order to achieve the intellectual objectives necessary in dialogical education? I view these questions from the limited musical perspective of the Western classical tradition — a misnomer since it is now an international tradition practiced around the world by people of many different languages, ethnicities, and cultures — and in the context of my position that this tradition merits transformation.2 This is a particularly interesting example since its roots originally are European, Eastern, and African, and it potentially subverts the predominant American popular musical culture of our time.Michael Hardt and Antonio Negri write of a global empire in the making and the seeds of its decline and fall, the multitudes that arise against it and the challenges they encounter in making their voices heard in the political arena.3 The forces of globalization, interwoven as they are with those of capitalism and the ideologies that foster it, are so pervasive that it is difficult for nation states to resist. The powers of nation-states decline while pervasive internationalism lies like an "epidermis" over the many nation-states, religions, languages, and ways of life that characterize societies on planet earth.4 The United States might champion capitalism and its own [End Page 1] breed of democratic ideology, yet globalization engulfs it such that it becomes the creature of its own making. Its values and culture might lie at the heart of the cultural, economic, and political agents of globalization — the multinational corporations with their corresponding distribution networks, interlocking international corporate directorships, licensing agreements, technological inventions, and powerful political and religious liaisons — yet even the United States becomes the child of forces it has exported throughout the world and that it is now unable to control. A culture of fear and violence pervades the country.5 Outsourcing, off-shore export of production capacity, the power of the profit motive, and management decisions made far from the particular places they impact leave many Americans without jobs and security, and a sense of powerlessness to change their circumstances — a phenomenon that also appears in other countries. Eventually, as Hardt and Negri posit in Marxian vein, the people impacted by these developments both here and abroad begin to organize themselves and rise against the oppression they may at first sense if not fully understand; in the beginning they may march peacefully but as their anger and frustration grow, they may eventually revolt. One need not buy into their particular reading of history to notice that, at least over the long term of decades or centuries, there seem to be limits on the human willingness to tolerate oppression; when their patience is eventually exhausted, people resist, subvert, escape, or overthrow their oppressors.One of the particular challenges of our time is the "polyvocality" of contemporary societies. Globalism may constitute the epidermis overlying these "multiplicities and pluralities" but underneath are the hosts of differing tribes, religions, languages, colors, and identities. Ways need to be found for people to dwell together in peace and debate and reconcile their differences without resorting to violence.6 In such a world, even in societies that espouse democratic ideals and principles, moral conflicts cannot be avoided, and differences between and among individuals and groups are often deeply rooted, persistent, and pervasive. This necessitates forging mechanisms that enable deliberation about how to solve the conflicts that necessarily arise.7 Seyla... (shrink)

ABSTRACT Although Kairos in Greek mythology is often depicted as the winged son of Zeus who grants to those who lay hold of his single lock of hair their once-in-a-lifetime opportunity, in traditional African American culture, particularly when it comes to speech, Kairos is essentially family. Given how much African American speakers depend on seizing the moment to invoke spiritual connections, emit laughter, and profess the truth, Kairos, or what we might call CPT (“Colored People’s Time”), can be (...) summoned almost at will. One of the African American discourses this article will use to illustrate this point is Call and Response, a verbal exchange in which speakers and listeners attune to one another and to the timeliness of an event. Martin Luther King Jr.’s “I Have a Dream” speech was such an event, but it wouldn’t have been so were it not for the timely responding of his favorite gospel singer, Mahalia Jackson. (shrink)