Gold coasters overseas, 1880–1919: With specific reference to their activities in Britain

One effect of the British conquest of the Gold Coast was an acceleration in the exodus of members of Euro‐African families from the coastal townships to the British West African empire and to the imperial metropole. Using Gold Coast sources, in the main, to identify these expatriates and to ascertain the nature and purpose of their migration overseas, the article suggests that while the exodus may be interpreted as a nationalist response to colonialism, it also represented a pragmatic and indeed successful reaction in defence of the political and economic interests of an emergent Euro‐African Society, whose origins may be traced to the early phase of ‘informal’ imperialism, associated with the promotion of ‘Commerce and Christianity’ in the Gold Coast.     

Signifyin' Cinema: Rudy Ray Moore and the Quality of Badness

This article engages the limits of both film and race studies in their approach to heterogeneous and “low” forms of African American cultural production through an analysis of the films of Rudy Ray Moore. While Moore’s films have been almost entirely overlooked in both film studies and black studies, they were extremely popular among black youth of the 1970s and have exerted a powerful influence on today’s hardcore hip hop artists (and their understanding of how to turn black market entrepreneurship into global enterprise). The theory of “signifying”, advanced most rigorously by black literary theorist Henry Louis Gates Jr, helps explain how and why Moore has slipped through various critical nets — and grounds a claim for why we should take “bad” black film seriously. Close film and context analysis illustrates how Moore’s low‐budget films “signify” on Hollywood and the system of expectancies that go with putatively “good” filmmaking and reveals the extent to which they constitute a hybrid cultural and multimedia practice. As vehicles designed to elaborate on the badman of black folklore, Moore’s films contribute to the long history and rich language of “toasting” in African American oral culture and music. As such, far from being emblematic of black filmmaking’s impoverished relationship to mainstream cinema (as a cinema manqué), these films constitute vital precursors to the hip hop music video.     

Public relations in Ghana: Work-related cultural values and public relations models

This study explores cultural influences on public relations practices in Ghana. This survey research brief reports data collected from Ghanaian public relations practitioners (n = 64) and describes work-related cultural values as well as the practices of public relations models in Ghana. The result reveals that Ghanaian public professionals tend to utilize international public relations and two-way communication models. The study extends knowledge of international public relations in African cultures.     

The origins of a source: Edward Long,Coromantee slave revolts and The History of Jamaica

Since the 1960s, historians of the early-modern era have been working with colonial sources to uncover the ways that Africans with connections to the Gold Coast – often known as ‘Coromantees’ in the Anglo-American colonies – shaped the history of the Atlantic World. One of the most influential primary sources used in this literature is a 32-page section of the second volume of The History of Jamaica, written by the planter-historian Edward Long in 1774. ‘The origins of a source’ uses Long’s life and works, both published and unpublished, to tell the story of this source’s creation. In doing so, it provides a detailed case study for how a prominent and controversial intellectual acquired knowledge of African culture, and then repurposed and deployed that knowledge as a tool in the abolitionist debates. It argues that the political context of abolition is essential to understanding Long’s writings on the Coromantee.     

Preferences for popular music in and outside school among Chinese secondary school students

During the last two decades, China has experienced the emergence of vibrant popular music, resulting from globalisation and commercialisation. This empirical study investigates Chinese secondary students' popular music preferences in daily life, and to what extent and in what ways they prefer learning about popular music in school in the city of Changsha. Based on the findings from the survey questionnaires completed by 1816 secondary school students and interviews with 45 students from 8 secondary schools, this study revealed that Chinese teenagers preferred popular music styles in their daily lives and in school, particularly popular songs from Mainland China, the USA and the UK. There was a strong relationship found between school music teachers and the students' preferences for learning popular songs. Many of the students surveyed had their own popular music idols, but they mostly maintained that they liked their music idols because of their songs' melodies and lyrics. The findings also showed that there was a gap between the students' preferences for popular music and the popular music styles taught in school music lessons. Despite the division of classical and popular music learning among Chinese youths, most students conceded that these two musical styles should be taught in school music education. This study's findings challenge the notion of how popular music education in a culturally diverse community can be improved, as well as stimulate further examination of young students' music preferences in and outside the school environment.     

The Defeat of the Guitar Army: Don DeLillo,John Sinclair,and the Rock Revolution

Abstract

Don DeLillo’s 1973 novel Great Jones Street is seldom analysed as a serious engagement with the rock music and countercultural politics of the 1960s, yet these constitute its historical context, its subject matter, and its central concerns. An historicized reading positions the novel as an intervention into contemporary debates about the causes and consequences of the defeat of the 1960s ‘rock revolution’. These debates were most thoroughly synthesized by the rock culture’s chief agitator and organic intellectual John Sinclair in his 1972 book Guitar Army. Like Guitar Army, Great Jones Street dwells on the connections between the political failure of the rock revolution and the provenance and validity of rock’s anti-rational aesthetic. Sinclair finds political hope in re-emphasizing rock’s anti-rationalism, rooted equally in black music and the psychedelic experience. More sceptical, DeLillo offers a very different reading of the rock culture’s view of African American aesthetics and its use of psychedelics.     

Contingent constellations: African urban complexity seen through the workings of a Ghanaian bus station

In this article, I explore the intricate relationship between regulation and contingency in processes of urban economic organisation by focusing on the workings of a central bus station in Accra, Ghana. After introducing the position of the station in Ghana’s urban economy and transport infrastructure, I set out its internal regulative arrangements in relation to larger socio-economic and political constellations the practices of the station workers are contingent upon. Next, I turn the analysis around and describe the ways in which people accommodate themselves within, exploit and thereby co-produce emergent contingencies. The focus on the station, I suggest, offers a window into the complex constituents of niche economic practices that prevail in many spheres of African cities and allows a nuanced reflection on the incongruous and undetermined dynamics of everyday urban ‘becomings.’     

Castle Slaves of the Eighteenth-Century Gold Coast (Ghana)

This article examines the development of the institution known as ‘castle slavery’ on the Gold Coast (West Africa) in the era of the transatlantic slave trade. It places the lived experiences of castle slaves within a comparative Atlantic World context and argues that castle slavery bore significant resemblances to forms of creole elite slavery in the Americas. It also explores the particularly complex roles of female castle slaves in the daily life and operation of European-trading posts in Gold Coast towns.     

The invention of religion: Aspects of the South African case

This paper examines the role played by popular culture in response to the effects of the unfolding social and political repression on the ordinary Zimbabwean after 2000. The arts is one sector where the Zimbabwean government fostered its repressive hegemony. An urban youth music genre called ‘urban grooves’ rose to prominence during the period under focus here and some of the artists colluded with the government in propagating an anti‐Western imperialism campaign. This paper evaluates the nature of the genre’s performance practices and its role in the government’s anti‐Western imperialism campaign. It also discusses the complexities associated with notions of complicity and resistance as urban grooves artists resisted both Western hegemony, as per the government’s campaign, and subverted the same government’s censorship of the urban youth’s and the general society’s imaginary and other freedoms.     

Autonomous Youth? Independence and Precariousness in the Indonesian Underground Music Scene

Indonesia boasts a thriving underground music scene that has become an important element in the identity practices of many urban youth. For dedicated ‘scenesters’, the underground is more than a personal expression of style; it is a way of life, and often a way to make a living. I draw on the concept of ‘precarity’ to examine the underground value of independence (kemandirian) in the context of the precarious position of urban youth in neoliberal Indonesia. The identities and practices of the underground scene are both a reaction against and a reflection of this experience. Scenesters draw on their underground identities, and the autonomous community networks they have established, in order to assert their independence from the demands of capital. However, they also mobilise this independence as the basis for their own entrepreneurial activities, resulting in a nascent tendency towards capital accumulation and class polarisation within the scene.     

Richard Davis 1943-1981

This article examines some of the key issues discussed and debated in the literature on ‘world music’ in anthropology and ethnomusicology. In particular, it focuses on the kinds of aesthetic and musical decisions made by non-Western musicians as they produce music for a global market; as both producers and consumers of global music, musicians labelled by the term ‘world music’ must consider both local and global audiences when they take the stage or enter the recording studio. The article then relates these issues to the other articles in this issue of TAPJA, which explore a variety of local responses to the world music phenomenon.     

Sea breeze: Globalisation and cook islands popular music

This paper examines the dynamics of Cook Islands popular music, most commonly referred to as ‘island music’. Among Cook Islands communities at home and abroad, island music is performed at informal gatherings, at nightclubs and bars. It is also a central component of large functions such as weddings and island fundraising events. String bands—who perform island music—undertake performance tours through New Zealand, the Cook Islands and French Polynesia. These bands also record audiotapes and CDs of their music, which are extremely popular among Cook Islander communities across the region. Despite island music's centrality in many social contexts it is also the subject of much critical debate. It is viewed by some both as a ‘bastardisation’ of ‘traditional’ expressive forms and as an indicator of ‘global’ corruption; local music is seen as ‘swamped’ by Western popular music. I argue that these debates are symptomatic of anxiety about globalisation and related notions of authenticity, cultural ownership and loss. They are also ultimately concerned with negotiating locality and identity across the Cook Islands diaspora.     

Reading the rubbish dump as a heterotopia in Neill Blomkamp’s district 9

ABSTRACT

I read the rubbish dumps of Neill Blomkamp’s 2009 film District 9 in order to think about how peripheral places and communities can reframe the South African city. In the film, dumps are sites of abandonment and transformation. This doubleness exemplifies Michel Foucault’s privileged site, the heterotopia. I focus on two scenes that take up little of the film’s running time but speak to the possibilities of the dump as more than simply a space of immiseration. The scenes unsettle orthodoxies of space that define the postapartheid city and reposition the heterotopic dump at the urban centre rather than the margins.     

THE GHETTO FABULOUS AESTHETIC IN CONTEMPORARY BLACK CULTURE

With diamonds, mink, and champagne, black popular culture has, in recent years, made an audacious spectacle of conspicuous commodity consumption. Commonly termed ‘bling’, the ‘ghetto fabulous’ aesthetic of these flashy displays has prompted vociferous debate about the cultural meanings of contemporary black consumerism. Is it pathological? Subversive? Deviant? Since the nineties when it first appeared, the ghetto fabulous aesthetic has left its mark on a range of cultural productions from music videos to ghetto lit, fashion to film, walking a familiar line from defiance to bowdlerization, from raucous wild child of the streets to co-opted product tagline.

This essay explores a new cinematic genre within this repertoire, the ghetto fabulous genre of black film that has emerged to variously castigate and congratulate black investments in ghetto fabulous bling. Appearing at the close of the twentieth century, the genre reflects key shifts in the political imaginary and economic transformations of the ‘post-soul’ era. Drawing on two such texts, Barbershop (Tim Story 2002) and Barbershop 2: Back In Business (Kevin Rodney Sullivan 2004), studio films with all-black casts and directed by young African-American filmmakers, this analysis focuses on their engagement with contemporary cultural tensions over class and consumerism, their narrative containment of a transformative black politics, and their reconciliation of post-soul priorities with hegemonic discourses of the market. I argue that ghetto fabulous films are quintessential products of the post-soul era, their allegorical priorities in pointed accord with neo-liberal individualism and the promise of class transcendence. Performing crucial work of hegemonic cooptation, these texts offer archetypes of the ghetto entrepreneur and black enterprise itself as a salvational sphere for the urban poor. Reining in unruly desires, these texts draw working-class African Americans into the capitalist fold, articulating a post-soul politics that preaches black acquiescence with hegemonic discourses of advanced capitalism.     

Rice and memory in the age of enslavement: Atlantic passages to Suriname

This article examines the geographical corridors for the establishment of rice in seventeenth-century Dutch Guiana. One corridor of introduction is associated with the expulsion of Dutch planters from Brazil in 1644, whose slaves reestablished longstanding subsistence preferences with their exodus to the colony. Another corridor links its introduction to the African Gold Coast, where rice developed as a commodity during the 1600s. The oral histories of maroons offer an additional perspective on rice beginnings in South America, attributing its diffusion to the deliberate efforts of enslaved women.     

M/Otherland

This article introduces El Vez, an important performance artist and musician, whose translation of Elvis extends far beyond local audiences. In our historical moment of shrinking public outlets for the circulation and discussion of alternative and oppositional perpectives, his creator, Robert Lopez, has opened up a discursive space – on the terrain of popular music, in the unlikely genre of Elvis impersonation – that enables both critique of the status quo and dialogue concerning progressive social transformation. This article investigates Lopez's artful superimpositions of Chicana and Chicano realities and cultural icons on to the iconography, soundings and lyrics that cluster around Elvis, and claims that Lopez subverts both the myth of ‘Elvis as the embodiment of the American Dream’ and the reactionary assumption that American national identity and cultural belonging are (or should be) equated with exclusionary representations of whiteness. This article also argues that the content of his live and recorded stage shows (which are part strip-tease, part Chicana/o studies, part labour history, and part history of popular music course) respond to hegemonic discourses that fault racialized immigrants and working-class people for the consequences of global economic restructuring, and that his aesthetics of resistance subvert both dominant and subaltern dictates for strict, unyielding definitions of identity, sexuality and citizenship. Finally, it suggests that the positive reception of Lopez's performances by racialized, marginalized, displaced and economically outcast youth in Germany speaks to an identification with Chicana/o struggles that is not based on a specific ethnicity, but instead on an articulation of oppositional politics. In this context, Lopez's music enables the possibility of building coalitions beyond the constraints of the nation-state.     

Tsotsitaal,global culture and local style: identity and recontextualisation in twenty‐first century South African townships

Tsotsitaal is a linguistic phenomenon which is inseparable from a style adopted by many youth living in urban townships in South Africa. The style is signalled by the unique and innovative lexicon of Tsotsitaal, and additionally indicated by clothing and other identity markers. Features of the style are ‘urban‐ness’, consumerism (in terms of brand names) and cultural iconography, such as music and sports. While many of these items are influenced by, or even drawn from, global cultures (particularly in the diaspora), they are transformed into uniquely South African cultural currency by a process of recontextualisation in township spaces and between individuals. There has been a dialogue between the Tsotsitaal style and the global since at least the 1940s, which should put to rest fears that increased global influence since the end of apartheid will diminish the integrity of local South African cultures.     

Contemporary South African Jazz and the Politics of Place

Abstract

Drawing on popular music scholarship on music and place, as well as interviews with jazz musicians, scholars, and journalists active on the jazz scenes in Durban and Johannesburg, this article considers how locales are perceived to uniquely influence music-making. Extending Bakhtin's notion of “utterance” to music, it argues that the musical character of recent South African jazz subtly registers demographic, political, economic, and environmental specificities peculiar to contemporary Durban and Johannesburg. It is argued that contemporary South African jazz, as it is experienced by its performers and listeners, may be profitably conceptualised as speaker and addressee of locale.