Tracing the Mbira Sound Archive in Zimbabwe analyses the revitalization and repatriation of historical recordings from the largest sound archive in Africa, the International Library of African Music (ILAM). It provides a postcolonial study on the African sound archive divided into three historical periods: the colonial period offe
Tracing the Mbira Sound Archive in Zimbabwe analyses the revitalization and repatriation of historical recordings from the largest sound archive in Africa, the International Library of African Music (ILAM). It provides a postcolonial study on the African sound archive divided into three historical periods: the colonial period offe
Luis Gimenez Amoros is a research fellow at the Centre for Humanities Research (CHR) at the University of the Western Cape. Previously, he has served as an Ethnomusicology lecturer at the University of Fort Hare and as a Postdoctoral fellow in the Unit of Zimbabwean Studies at Rhodes University in South Africa.
Inhaltsangabe
Introduction PART ONE: RECONSIDERING THE COLONIAL ARCHIVE Chapter One: The mobilization of Shona musical identity during colonial times Chapter Two: Reconsidering the colonial creation of Shona musical identity in the sound archive Chapter Three: An attempt to link colonial and postcolonial narratives in the sound archive: Tracey¿s "Shona chord cadence" and Afropolitanism beyond colonial borders Chapter Four: Colonial and postcolonial interpretations of the Shona-mbira recordings from the International Library of African Music (ILAM) PART TWO: RECONSIDERING THE POST-COLONIAL ARCHIVE Chapter Five: The centralisation of Great Zimbabwe and the multiple versions of chaminuka in the sound archive Chapter Six: Chimurenga music and the sound archive: The homogenisation of Shona mbiras Chapter Seven: The third chimurenga for the land reform as another reflection of southern African Afro-politanism versus customary laws PART THREE: THE REVITALISATION OF THE SOUND ARCHIVE IN ZIMBABWE Chapter Eight: Revitalising the repertoire through Zimbabwean musician Chapter Nine: The sound repatriation in the place of the recordings Chapter Ten: Curricula transformation in the African academy through the sound archive References Discography Filmography Interviews Index
Introduction PART ONE: RECONSIDERING THE COLONIAL ARCHIVE Chapter One: The mobilization of Shona musical identity during colonial times Chapter Two: Reconsidering the colonial creation of Shona musical identity in the sound archive Chapter Three: An attempt to link colonial and postcolonial narratives in the sound archive: Tracey¿s "Shona chord cadence" and Afropolitanism beyond colonial borders Chapter Four: Colonial and postcolonial interpretations of the Shona-mbira recordings from the International Library of African Music (ILAM) PART TWO: RECONSIDERING THE POST-COLONIAL ARCHIVE Chapter Five: The centralisation of Great Zimbabwe and the multiple versions of chaminuka in the sound archive Chapter Six: Chimurenga music and the sound archive: The homogenisation of Shona mbiras Chapter Seven: The third chimurenga for the land reform as another reflection of southern African Afro-politanism versus customary laws PART THREE: THE REVITALISATION OF THE SOUND ARCHIVE IN ZIMBABWE Chapter Eight: Revitalising the repertoire through Zimbabwean musician Chapter Nine: The sound repatriation in the place of the recordings Chapter Ten: Curricula transformation in the African academy through the sound archive References Discography Filmography Interviews Index
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