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Africana Digital Ethnography Project

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Articles 1 - 17 of 17

Full-Text Articles in African Languages and Societies

Djembe Drum Carving In Accra Cultural Market, Kevin Booker, Aaron Carter-Enyi Jul 2018

Djembe Drum Carving In Accra Cultural Market, Kevin Booker, Aaron Carter-Enyi

Africana Digital Ethnography Project

Dean Kevin Booker of Morehouse College recorded this video of his last name being carved into his new djembe purchased in the Accra Cultural Market, next to Kwame Nkrumah Memorial.


Pitch Polarity In Praise Singing And Hip-Hop: Evidence For An Underrepresented Poetic Feature, William S. Dula, Aaron Carter-Enyi, David Oludaisi Aina, Nathaniel Condit-Schultz Mar 2018

Pitch Polarity In Praise Singing And Hip-Hop: Evidence For An Underrepresented Poetic Feature, William S. Dula, Aaron Carter-Enyi, David Oludaisi Aina, Nathaniel Condit-Schultz

Africana Digital Ethnography Project

Tonal counterpoint is a common device in the oral improvisatory tradition of Yorùbá oríkì (praise-singing), first documented by Ọlátunji (1984). Both tonal and counterpoint are terms familiar to musicians, but the meaning here is the linguistic tonal, not the harmonic, and the rhetorical counterpoint, not polyphonic. Ọlátunji describes couplets in which each phrase is parallel if not identical in terms of phonic content and the first sets up a tonal expectancy for the second. The contrast might also be between words within a single phrase. There are three primary categories of tonal counterpoint in Yorùbá oríkì: parallelism of similar words ...


Not Afro-Beat: The Hegemonic Possession Of A Musical Genre, Odyke Nzewi, Aaron Carter-Enyi, Quintina Carter-Enyi, David Oludaisi Aina Mar 2018

Not Afro-Beat: The Hegemonic Possession Of A Musical Genre, Odyke Nzewi, Aaron Carter-Enyi, Quintina Carter-Enyi, David Oludaisi Aina

Africana Digital Ethnography Project

Synchronous movements for African independence and American civil rights emboldened each other, inspiring a global flourish of black popular music. Fẹla Kuti is celebrated in literature and media but his contemporaries are largely forgotten. According to Waterman (2002), “Afro-beat music was associated almost exclusively with one charismatic figure.” This is reinforced by Moore (1982), Olaniyan (2004) and others. Nigerian journalist Tam Fiofori and the multiple-author blog “afrobeat, afrofunk, afrojazz, afrorock, african-boogie...” tell a different story. In 1960s Lagos, a nascent musical movement formed fusing Highlife and African-American popular music, fortified by James Brown’s 1970 tour of West Africa (Emielu ...


The Language Agenda In Post-Colonial African Music, Quintina Carter-Enyi Mar 2018

The Language Agenda In Post-Colonial African Music, Quintina Carter-Enyi

Africana Digital Ethnography Project

For post-colonial African musicians, decolonization became an imperative. For musicians, singing in one’s native language was no longer merely creative expression, it took on a more significant role in decolonizing the African continent. This was also the case for composers, particularly those who traveled abroad to study in conservatories and universities in the United Kingdom or the United States of America.

In Decolonising the Mind, Ngũgĩ wa Thiong’o makes a case for African literature to be written in African languages. He also points out that singers and musicians have resisted mental colonization by retaining indigenous musical practices and ...


Ghana And The Trans-Atlantic Slavetrade, De-Valera Botchway, Aaron Carter-Enyi Jan 2018

Ghana And The Trans-Atlantic Slavetrade, De-Valera Botchway, Aaron Carter-Enyi

Africana Digital Ethnography Project

Dr. De-Valera Botchway of University of Cape Coast delivers a lecture on the history of the Trans-Atlantic Slave Trade with special attention to the ethnic groups of Ghana (formerly known as Gold Coast). The role of Christianity, and whether it was part of a system of oppression or a means of liberation, becomes a matter of debate during the question and answer with Morehouse students.


Melodic Language And Linguistic Melodies: Singing In Tone Languages, Aaron Carter-Enyi Nov 2017

Melodic Language And Linguistic Melodies: Singing In Tone Languages, Aaron Carter-Enyi

Africana Digital Ethnography Project

Approximately 60% of the world’s languages are tonal, wherein alterations of pitch change the meaning of words. Two-syllable words in Yorùbá can have as many as five separate meanings, and single- syllable words in Mandarin up to four. Among tone-language speakers, acute pitch sensitivity is developed at an early age as part of language acquisition. The result is that speakers of tone languages are generally more sensitive to pitch than stress-language speakers. For speakers of stress languages, it is difficult to conceive of this other aurality, in which sound is perceived in a different way. But music holds the ...


Veronica Davis Gerald On Gullah Culture, Aaron Carter-Enyi, Corrie Claiborne, Samuel Livingston, Veronica Davis Gerald Aug 2017

Veronica Davis Gerald On Gullah Culture, Aaron Carter-Enyi, Corrie Claiborne, Samuel Livingston, Veronica Davis Gerald

Africana Digital Ethnography Project

Veronica Davis Gerald is Director of the Charles Joyner Institute for Gullah and African Diaspora Studies at Coastal Carolina University. In this video abstract, she discusses her identity as both a scholar and native of the Gullah culture. This informs her collaborative work with the Charles Joyner Institute and Gullah communities of the Waccamaw Neck region of South Carolina.


Ron Daise Reads De Nyew Testament, Luke 2:1-5, Aaron Carter-Enyi, Corrie Claiborne, Samuel Livingston, Ronald Daise Aug 2017

Ron Daise Reads De Nyew Testament, Luke 2:1-5, Aaron Carter-Enyi, Corrie Claiborne, Samuel Livingston, Ronald Daise

Africana Digital Ethnography Project

Cultural preservationist Ron Daise reads a passage from the Gullah Sea Island Creole Translation of the New Testament. He then reads the parallel passage in the King James Version. Ron and his wife, Natalie, worked on the translation of the Bible into Gullah.


Aku Kadogo Talks About "Salt City, A Techno-Choreo Poem", Zari Mcfadden, Aaron Carter-Enyi, Aku Kadogo Aug 2017

Aku Kadogo Talks About "Salt City, A Techno-Choreo Poem", Zari Mcfadden, Aaron Carter-Enyi, Aku Kadogo

Africana Digital Ethnography Project

Jessica Care Moore (poet) and Aku Kadogo (choreographer, Spelman College) have developed a techno-choreopoem entitled Salt City. The work celebrates Black culture in Detroit: “the African-American presence in the city … [and] techno-music that was pioneered by African-American men straight out of the Detroit Metropolitan Area” (McFadden and Kadogo 2017). Kadogo was a founding member of the cast of Shange’s For Colored Girls and has worked in the genre for forty years.


Uzee Brown And His Society Of Choraliers, William S. Dula, Aaron Carter-Enyi, Uzee Brown Jr. Aug 2017

Uzee Brown And His Society Of Choraliers, William S. Dula, Aaron Carter-Enyi, Uzee Brown Jr.

Africana Digital Ethnography Project

Uzee Brown, Professor and Chair of the Morehouse College Department of Music, talks about growing up in the Piedmont region of South Carolina. Once he came to Morehouse, Prof. Wendell P. Whalum encouraged him to pursue research on the oral traditions of South Carolina and he saw the folk music he grew up with in a new light. This has culminated in a collection of rare spirituals which he has arranged and recorded with his choir, the Uzee Brown Society of Choraliers.


Cynthia Hewitt On Queen Mothers Of Ghana, Aaron Carter-Enyi, Corrie Claiborne, Cynthia Lucas Hewitt Jul 2017

Cynthia Hewitt On Queen Mothers Of Ghana, Aaron Carter-Enyi, Corrie Claiborne, Cynthia Lucas Hewitt

Africana Digital Ethnography Project

Dr. Cynthia Hewitt of Morehouse College talks about a forthcoming article in the Journal of Black Studies. She has researched Queen Mothers of Ghana for a decade and found that they provide a counterpoint to patriarchal society. According to Hewitt, there are also many Queen Mothers found in the history of the United States.


"Why Women Are Smarter Than Men" By Gloria Barr Ford, Aaron Carter-Enyi, Corrie Claiborne Jul 2017

"Why Women Are Smarter Than Men" By Gloria Barr Ford, Aaron Carter-Enyi, Corrie Claiborne

Africana Digital Ethnography Project

Gloria Barr Ford, Gullah Storyteller, tells the tale of the father, daughter and preacher. Recorded July 31, 2017 at her home in Georgetown, South Carolina.


Morehouse College Glee Club Performs "Iya Mi" (My Mother) By Jude Nwankwo, David Morrow, Jude Nwankwo, Aaron Carter-Enyi Apr 2017

Morehouse College Glee Club Performs "Iya Mi" (My Mother) By Jude Nwankwo, David Morrow, Jude Nwankwo, Aaron Carter-Enyi

Africana Digital Ethnography Project

In the Fall of 2016, the Morehouse College Music Department issued a call for early-career Nigerian composers to submit applications for consideration. This project builds on the Morehouse College Glee Club’s reputation of performing African choral music under the direction of Wendell Whalum, Uzee Brown, Jr., and David Morrow.

In December 2016, Jude Nwankwo was selected as the inaugural recipient of the award. Mr. Nwankwo is a Lecturer of Music at the University of Nigeria, Nsukka.

Mr. Nwankwo was commissioned to write a three- to five-minute piece for TTBB (male-voice) choir on secular themes in one of Nigeria’s ...


"Ekene Maria" By Nnamdi Azikiwe University Chapel Choir, Quintina Carter-Enyi, Aaron Carter-Enyi Oct 2013

"Ekene Maria" By Nnamdi Azikiwe University Chapel Choir, Quintina Carter-Enyi, Aaron Carter-Enyi

Africana Digital Ethnography Project

The Forum for Inculturation of Liturgical Music (FILM) is a biennial competition held at universities in Nigeria. The 2013 competition included this performance by Nnamdi Azikiwe University's Chapel Choir, of a composition by Dominic Igwe.


Oriki Ogun (Praise Of The God Of Iron) By Mayowa Adeyemo, Aaron Carter-Enyi, David Oludaisi Aina, Mayowa Adeyemo Jul 2013

Oriki Ogun (Praise Of The God Of Iron) By Mayowa Adeyemo, Aaron Carter-Enyi, David Oludaisi Aina, Mayowa Adeyemo

Africana Digital Ethnography Project

Lagos State University music student, Mayowa Adeyemo, praises Ogun (Yoruba Orisha/God of Iron). Recorded on July 26, 2013 at Peter King College of Music near Badagry, Lagos State.


Ọ̀Hà Kèlé Íké Jésù (Igbo Sacred Song), Aaron Carter-Enyi, Quintina Carter-Enyi Jan 2013

Ọ̀Hà Kèlé Íké Jésù (Igbo Sacred Song), Aaron Carter-Enyi, Quintina Carter-Enyi

Africana Digital Ethnography Project

"Ọ̀hà kèlé íké Jésù" (All hail the power of Jesus) sung by members of Our Lady of Perpetual Help Catholic Church, Victoria Island, Lagos, Nigeria.


Ọpé ̣Mi Kòyì Tó, Aaron Carter-Enyi, Quintina Carter-Enyi Jan 2013

Ọpé ̣Mi Kòyì Tó, Aaron Carter-Enyi, Quintina Carter-Enyi

Africana Digital Ethnography Project

"Ọ̀hà kèlé íké Jésù" (All hail the power of Jesus) sung by members of Our Lady of Perpetual Help Catholic Church, Victoria Island, Lagos, Nigeria.