By Tsitsi Ella Jaji
Africa in Stereo analyzes how Africans have engaged with African American track and its representations within the lengthy 20th century (1890-2011) to supply a brand new cultural historical past testifying to pan-Africanism's ongoing and open theoretical power. Tsitsi Jaji argues that African American renowned tune appealed to continental Africans as a unit of cultural status, a website of delight, and most significantly, an expressive shape already encoded with innovations of artistic resistance to racial hegemony. Ghana, Senegal and South Africa are regarded as 3 certain websites the place longstanding pan-African political and cultural affiliations gave expression to transnational black cohesion. The ebook indicates how such transnational ties fostered what Jaji phrases "stereomodernism." getting to the specificity of varied media during which tune used to be transmitted and interpreted-poetry, novels, movies, recordings, fairs, stay performances and websites-stereomodernism bills for the function of cultural perform within the emergence of harmony, tapping music's potential to refresh our realizing of twentieth-century black transnational ties.
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Extra resources for Africa in Stereo: Modernism, Music, and Pan-African Solidarity
Manning Marable’s dissertation on Dube, “African Nationalist: the Life of John Langalibalele Dube” (1976, UMD) is the most complete source. Hunt Davis, Shula Marks, Heather Hughes, as well as Cherif Keita’s film Oberlin-Inanda: The Life and Times of John L Dube (2005). indd 27 10/30/2013 6:54:06 PM 28 Africa in Stereo named Ilanga Lase Natal (The Natal Sun) two years later. His star continues to rise, and in 1912 he is elected president of the first nationwide black political assembly, the SANNC, and goes on to make several diplomatic tours on its behalf.
This generation placed a premium on fluid transitions between languages, ethnic identities, media, and art forms, a value they shared with other global movements of racial uplift. The aesthetic and political innovations in their modernism were couched in transcription, a set of writerly practices shuttling between sound and text. Transcription enabled an ambitious reimagining of the possibilities of citizenship and solidarity, both with other races within South Africa and with antiracist and anticolonial movements in other regions.
These media forms are as much technologies of solidarity as the music itself. Through them, the essential work of listening brings affiliation, affinity, and negotiated resolution into acoustic liveness, fully resonant (or, equally important, muffled) across geographic, ethnic, linguistic, and technical fissures. My interest in the role of media forms arises most organically out of the fact that across the period covered in Africa in Stereo the means of cultural access has often determined the meanings made, audiences reached, and ends music is turned to.