Making Manding in the concert hall – Jali Pop in Paris.
This contribution looks at performances of West African musicians in the diaspora in order to find out in which way artists consciously evoke feelings of home and address issues of identity and belonging. Taking as its starting point concerts by Senegambian griots both in the 1990s and in 2015, the...
| Publicado en: | Journal of African Cultural Studies Vol. 29; no. 2; pp. 177 - 194 |
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| Autor principal: | |
| Formato: | Artículo |
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Taylor & Francis Ltd
Jun2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=122554790&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 122554790 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 13696815 36D jtl: Journal of African Cultural Studies issn: 13696815 maglogo: N pubinfo: dt: Jun2017 vid: 29 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 122554790 10.1080/13696815.2017.1296351 ppf: 177 ppct: 17 formats: fmt: – @attributes: type: T db: hlh ui: 122554790 – @attributes: type: P db: hlh ui: 122554790 tig: atl: Making Manding in the concert hall – Jali Pop in Paris. aug: au: Dorsch, Hauke affil: AMA African Music Archives /Archiv für die Musik Afrikas Institut für Ethnologie und Afrikastudien Forum Universitatis, Mainz, Germany su: France Popular music Musicians Concerts Ethnicity Griots sug: subj: Popular music Musicians Concerts Ethnicity France Musical Groups and Artists Griots keyword: African popular music griots jaloolu ka Mandinkayaa kebaliyaa/ke migration moofing-duu la bii jaliya performance sumungo taamoo un/doing Mandinka identity jaloolu ka Mandinkayaa kebaliyaa/ke moofing-duu la bii jaliya sumungo taamoo African popular music griots jaloolu ka Mandinkayaa kebaliyaa/ke migration moofing-duu la bii jaliya performance sumungo taamoo un/doing Mandinka identity jaloolu ka Mandinkayaa kebaliyaa/ke moofing-duu la bii jaliya sumungo taamoo ab: This contribution looks at performances of West African musicians in the diaspora in order to find out in which way artists consciously evoke feelings of home and address issues of identity and belonging. Taking as its starting point concerts by Senegambian griots both in the 1990s and in 2015, the article shows the striking continuity of the performance of a Mande and more precisely Mandinka identity. As a contrasting example the article describes how the Senegalese pop star Baaba Maal, not a griot and not a Mandinka, performed to very different audiences in the USA, the Gambia and Germany. The paper compares how he addressed audiences at these concerts and how he addressed continental, regional, national, ethnic, local and other levels of identities. In rereading these and other concerts observed by the author in the late 1990s early 2000s and again recently, the contribution will also argue that in migrants' liminal life phase of staying abroad, concerts serve as rituals of belonging to a more or less mythical home. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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