Nationalists, Cosmopolitans, and Popular Music in Zimbabwe
Hailed as a national hero and musical revolutionary, Thomas Mapfumo, along with other Zimbabwean artists, burst onto the music scene in the 1980s with a unique style that combined electric guitar with indigenous Shona music and instruments. The development of this music from its roots in the early Rhodesian era to the present and the ways this and other styles articulated with Zimbabwean nationalism is the focus of Thomas Turino's new study. Turino examines the emergence of cosmopolitan culture among the black middle class and how this gave rise to a variety of urban-popular styles modeled on influences ranging from the Mills Brothers to Elvis. He also shows how cosmopolitanism gave rise to the nationalist movement itself, explaining the combination of "foreign" and indigenous elements that so often define nationalist art and cultural projects. The first book-length look at the role of music in African nationalism, Turino's work delves deeper than most books about popular music and challenges the reader to think about the lives and struggles of the people behind the surface appeal of world music.
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LibraryThing ReviewUser Review - jameskilgore - LibraryThing
Definitely a book for someone with a very specialist interest in Zimbabwean history and music, Turino's work is a fascinating look at the development of local music and its connection to global ... Read full review
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acoustic guitarists African music African Parade areas artists audience bands bass beerhalls Bhundu Boys Bulawayo burial societies ceremonies Chaminuka chapter Chigamba chimurenga songs Chinx Chris Mhlanga classical mbira colonial concert cosmopolitan cultural nationalism dancers discourse drums early elite emphasis ensembles European genres groups guitar guitar-band Harare hosho Hugh Tracey indigenous arts indigenous dance indigenous music indigenous-based instruments involved jazz jive lamellophone lifeways M'tukudzi makwaya Manatsa Mattaka mbaqanga Mbare mbira music mbira pieces mbira players mbira-based Mhlanga middle-class Mills Brothers modernist muchongoyo Mugabe Murehwa Murehwa Jerusarema Club music and dance musical style musicians National Dance Company nationalist Ndebele Ngoma Ngoma Yarira Nyandoro participatory performance played political popular music professional programs radio recorded repertory Rhodesian rhythm rumba rural Shona music singing Sithole Skokiaan social South African Thomas Mapfumo tion township traditional turino typically urban village vocal worldbeat ZANLA ZANU ZANU's ZAPU Zezuru Zimbabwe
Page 3 - We moderns believe in a great cosmopolitan civilisation, one which shall include all the talents of all the absorbed peoples — " "The Senor will forgive me," said the President. "May I ask the Senor how, under ordinary circumstances, he catches a wild horse?
Page 3 - Nicaragua we had a way of catching wild horses — by lassoing the fore feet — which was supposed to be the best in South America. If you are going to include all the talents, go and do it. If not, permit me to say, what I have always said, that something went from the world when Nicaragua was civilized.
Page 3 - This schoolmaster does not know how to ride on a camel; let us pay a Bedouin to teach him." You say your civilization will include all talents. Will it? Do you really mean to say that at the moment when the Eskimo has learnt to vote for a County Council, you will have learnt to spear a walrus?
Page 18 - In this emphasis we avoid, at least, the excessive localism of particularist cultural relativism, as well as the overly global vision of a capitalist or technocratic monoculture. And in this perspective the notion that certain classes of people are cosmopolitan (travelers) while the rest are local (natives) appears as the ideology of one (very powerful) traveling culture.
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