Indigenous African Popular Music, Volume 1: Prophets and Philosophers (Pop Music, Culture and Identity)

This volume explores the nature, philosophies and genres of indigenous African popular music, focusing on how indigenous African popular music artistes are seen as prophets and philosophers, and how indigenous African popular music depicts the world. Indigenous African popular music has long been under-appreciated in communication scholarship. However, understanding the nature and philosophies of indigenous African popular music reveals an untapped diversity which only be unraveled by knowledge of the myriad cultural backgrounds from which its genres originate. Indigenous African popular musicians have become repositories of indigenous cultural traditions and cosmologies.With a particular focus on scholarship from Nigeria, Zimbabwe and South Africa, this volume explores the work of these pioneering artists and their protégés who are resiliently sustaining, recreating and popularising indigenous popular music in their respective African communities, and at the same time propagatingthe communal views about African philosophies and the temporal and spiritual worlds in which they exist. ​ Acknowledgements Contents Notes on Contributors List of Figures List of Tables Chapter 1: Introduction: Indigenous African Popular Music Volume I: Prophets and Philosophers Nature, Philosophies and Genres of Indigenous African Popular Music African Music Prophets and Philosophers Indigenous African Popular Music and the World Volume 2: Social Crusade and the Future Indigenous African Popular Music and Social Crusades Indigenous African Popular Music and Environmental Health Communication Indigenous African Popular Music and Gender Empowerment Indigenous African Popular Music, African Youths and African Future Indigenous African Popular Music, Advanced Broadcast Technologies and the Digital Media Conclusion References Part I: The Nature, Philosophies and Genres of Indigenous African Popular Music Chapter 2: Indigenous and Modern Zimbabwean Music: Reflections from Thomas Mapfumo’s Chimurenga Music Genre Introduction and Background Other Chimurenga Musicians Chimurenga Music and Censorship Chimurenga Music to the World References Internet Sources Chapter 3: Rhythmic Signifying in Popular Venda Music Documented History About Venda Music The Development of South African Popular Music Rhythmic Analysis from Popular Venda Music Conclusion References Chapter 4: Baansi ni Yila: A Critical History of the Music Industry in Northern Ghana Introduction The History of Global Music Globalizing African Music Music in Ghana Northern Ghanaian Music Theoretical Framework Methodological Framework Research Questions Findings Music for Social Change The Making of Musical Griots Cultural Influences on Northern Ghanaian Music Conclusion References Chapter 5: Indigenous and Indigenised Yoruba Popular Music Introduction The Yoruba People of Nigeria Colonisation, Globalisation and Cultural Imperialism Influence of Christianity and Islam Yoruba Indigenous Popular Music Yoruba Indigenised Popular Music Conclusion and Recommendations References Chapter 6: Social Cognition and Advertisement in Yusuf Olatunji’s Music Introduction Yusuf Olatunji and Sakara Theoretical Framework Methodology Analysis Advertisement of Consumable Products Advertisement of Non-consumable Products Advertisement of Services Conclusion References Discography Chapter 7: Exploring the Value Systems Embedded in Indigenous Yorùbá Music Genres and Yorùbá Nursery Rhymes Introduction The Yorùbá People Music Among the Yorùbá People: Use and Performance Yorùbá Music: Values and Socialisation Method Song Analysis: Musical Historicity Versus Value Content Conclusion References Chapter 8: Cultural Frames: Sociocultural Metaphors in Owerri-Igbo Bongo Music Introduction Bongo Music: An Aspect of Igbo Culture Framing Theory Deliberate Metaphor Theory Methodology Data Presentation and Analysis Morality and Social Justice Peaceful Coexistence with Nature and the Gods Communal Lifestyle Contentment and Comportment Integrity and Transparent Honesty Deliberate Metaphors in the Tracks Conclusion References Discography Chapter 9: Thematic Deconstructions of Urhobo/Isoko Musicology and Brand Identity Negotiation, Normalization and Contradictions: Discourse Narrative Introduction Connecting to Theories Music and Musicology Are Ideological Thrusts Urhobo/Isoko: Historic, Brands and Influencers Identified Themes and Normalization from Negotiated Identity Concluding Remarks References Chapter 10: Dung Chollom and Berom Ethnic Popular Music Introduction Background to Ethnic Popular Music The Berom of Jos-Plateau in Nigeria Profile of Dung Chollom The Musical Organization Performance Context Annual Festivals Music for Politics Discussions of Some of His Songs Lele Nong Feng NPP Conclusion References Part II: Indigenous African Popular Music Artists as Prophets and Philosophers Chapter 11: Corpus of Prophecy, Philosophy and Crusading in Ayinla Omowura’s Music Introduction Omowura: Philosophy, Crusading and Advocacy Conclusion References Chapter 12: Forewarned Is Forearmed: Exploring the Apocalyptic Voice of Popular Music in the Post-colonial Zimbabwe Introduction The Role of Music in Society Musical Stage(s) as Dariro (African Traditional Public Sphere) Photographic Representation: A Theoretical Trajectory Methodological Approach Discussion Sawara and Zimbabwe’s Failed Nationalism Sawara as an Epitome of Former Colonial Master The Revelations Conclusion Sawara the Living Word: Apocalypse Beyond Mugabe Era References Chapter 13: Reeling Nostalgia: ‘Aremote’ and the Enduring Sakara Music in Nigeria Introduction Methodology Nostalgia Music in Nigeria The Islamised Music The Sakara Music Yusuf Olatunji (1909–1978) The Broadcast Music The ‘Aremote’ Programmes Data Presentation Data Analysis and Discussion Conclusion References Internet Sources Chapter 14: Celebration as Choice in Nigerian Indigenous and Modern Music: A Critical Analysis of Osondi Owendi by Osita Osadebe and Chinedu Okoli (Flavour) Introduction The Concept of Celebration in Africa: Music as an Ornament The Influence of Indigenous African Music on the African Modern Music: The Case of Highlife The Theory of Selective Remix Methodology An Explication of Osondi Owendi by Osita Osadebe and Flavour Feat MC Loph The Value of Choice Conclusion References Chapter 15: Yorùbá Socio-Cultural Norms and Values in Selected Songs of Bùkọ́lá Ẹlémìdé (Áṣà) Introduction Brief Biography of Bùkọ́lá Ẹlémìdé (Áṣà) Yorùbá Socio-Cultural Norms and Values Music as a Form of Communication, Development and Social Reengineering Method Synopsis of the Selected Songs Socio-Cultural Norms and Values in Áṣà’s Music Áṣà’s Message on Justice and Fairness Áṣà’s Message on Sexual Chastity Áṣà’s Message on Greed, Materialism and Good Leadership Áṣà’s Message on Honesty and Loyalty Conclusion and Recommendations References Chapter 16: Rethinking Values and Principles: An Examination of Osita Osadebe Songs in Igbo Cultural Value Preservation Introduction The History of Nd’igbos The Igbo Cultural Values Igbo Indigenous Music Theoretical Framework Methodology Analysis and Discussion The Igbo Highlife: Osita Stephen Osadebe Value Analysis, Generation and Regeneration Regenerating Hard Work: An Igbo Cultural Value On Chukwu (God) and Contentment: The Igbo Values Conclusion and Recommendations: Value Regeneration Appendix References Part III: Indigenous African Popular Music and the World Chapter 17: Valódia: A Transatlantic Praise Song Santocas’ Golden Age Historic Relevance Selected African Songs of Praise Angolan Songs of Praise Civil Song of Praise Defining Parameters Political Impact of Valódia’s Alienation Dramatic Deconstruction of Valódia Tragic Hero Dramatist Perspective Linguistic Bonds Cultural Competence Intercultural Communication Cultural Moment Memorial Production Semiotic Impact Conclusion References Chapter 18: The Adaptation of Zimbabwean Mbira Dzavadzimu Music, from Traditional to Modern Popular Band Format; the Case of Thomas Mapfumo Introduction Towards the Adaptation of Mbira Dzavadzimu Music, a Historical Perspective Methodology Thomas Mapfumo’s Adaptations: From Traditional Mbira Dzavadzimu to Popular Music Use of Surrogation in Adapting Mbira Dzavadzimu Music to Popular Music Opening Melody for Song Identification Played by the Lead Guitar Kutsinhira Instruments Entering in Bar 8 Repeat Signs Indicating the Cyclic Nature of the Music Conclusion References Chapter 19: Macheso’s Sungura and Social Identity Narratives in Postcolonial Zimbabwe Introduction Macheso’s Early Years Malawian Chewa and African Heritage in Macheso’s Sungura Conclusion References Chapter 20: “One Beat, One Pound”: Kasumu Isola Sanni—The Sákárà Master Drummer Introduction What Is the Sákárà Drum? The Man Kasumu Isola Sanni KIS the Ọ̀gá Onílù: Analysis of Selected Drumbeats From a Drummer to a Musician Conclusion References Chapter 21: When Culture and Tradition Aren’t Archaic: The Song Semantics of Zimbabwean Mbira’s International Appeal Introduction Background and Rationale of the Study Review Traditional and Cultural Semantics of Mbira Music Is Mbira Music Archaic? The International Appeal and Semantics of Mbira Music The Peculiarities and Semantics of Stella Chiweshe’s Mbira Music The Future of Mbira Music Theoretical Framework Data and Method Findings and Discussion The Gist of Mbira Music Mbira Music: Antiquated or Fashionable? The World-wide Charm of Mbira Music Stella Chiweshe’s Mbira Idiosyncrasies and Insinuations The Prospect of Mbira Music: Bright or Bleak? Conclusions References Correction to: Social Cognition and Advertisement in Yusuf Olatunji’s Music Index [Volume 1] explores the nature, philosophies and genres of indigenous African popular music, focusing on how indigenous African popular music artistes are seen as prophets and philosophers, and how indigenous African popular music depicts the world. Indigenous African popular music has long been under-appreciated in communication scholarship. However, understanding the nature and philosophies of indigenous African popular music reveals an untapped diversity which can only be unraveled by knowledge of the myriad cultural backgrounds from which its genres originate. Indigenous African popular musicians have become repositories of indigenous cultural traditions and cosmologies. With a particular focus on scholarship from Nigeria, Zimbabwe and South Africa, this volume explores the work of these pioneering artists and their proteges who are resiliently sustaining, recreating and popularising indigenous popular music in their respective African communities, and at the same time propagating the communal views about African philosophies and the temporal and spiritual worlds in which they exist.-- Volume 1, cover page 4