Egyptian composer, musician, and film star, was born in the early 1900s, either in Cairo or in the village of Abu Kibir, Sharqiya Province. There is confusion regarding both the date and the place of his birth. Two official identification cards in his possession listed his birth in 1910 but in the two different locations named above. ʿAbd al-Wahhab’s contemporaries have suggested that he was born sometime between 1896 and 1907 their suggestions are supported by reported incidents of his early musical life and encounters with important historical figures of the 1910s His early years were spent in the Bab al Shaʿrani quarter of Cairo where his father Muhammad Abu ʿIsa ʿAbd al Wahhab was shaykh religious scholar and caretaker of the neighborhood mosque ʿAbd al Wahhab was one of five children born to his father and Fatima Higazi his mother Early on ʿAbd al Wahhab was enrolled by ...
Anne Elise Thomas
Eritrean Tigrinya singer and performer, songwriter, instrument player, and music composer, was born in the city of Asmara. During the Eritrean war of liberation (1961–1991), Abraham Afewerki and his family, like hundreds of thousands of other Eritreans, sought refuge in Sudan.
Abraham Afewerki became attracted by music and musical instruments at an early age. As a young child, he started playing famfam harmonica and singing at school events As a young boy with great artistic potential he joined the Qeyyahti Embaba Red Flowers of the Eritrean People s Liberation Front EPLF at the age of twelve The Red Flowers was a cultural troupe composed of young artists who performed cultural and revolutionary music and theater within Eritrea in areas controlled by the EPLF and Sudan A branch of the troupe of which Abraham Afewerki was a member was active in Khartoum By writing and composing his own ...
Susan Leigh Foster
Senegalese dancer and choreographer was born in Benin the daughter of a Senegalese colonial civil servant and the granddaughter of a Yoruba priestess When she was ten years old her family moved to Dakar Senegal From an early age Acogny showed exceptional talent for and love of dancing After pursuing a degree in physical education she went to France in the early 1960s where she studied ballet and modern dance Upon returning to Senegal she began teaching dance classes in the courtyard of her home and in the lycée where she was hired to be in charge of physical education In these classes she began to develop a codification of what she calls African dance Establishing an inventory of positions and steps as well as a spatial stability to each position s appearance she developed a dance technique based on an aesthetic of groundedness a sense of dynamism moving up ...
influential Afro-Uruguayan cultural workers and political activists in Buenos Aires and the coastal region, based in Argentina from 1983. Ángel (1961– ) and José (1963–1996) were born in Montevideo to an interracial couple, Blanca Martínez and Miguel Ángel Acosta, but were raised by their mother and a surrogate father, their mother’s second husband, Emilio Díaz. Nevertheless, their experiences with their father’s family left a deep impression on the brothers, sparking their interest in la cultura afro (Afro culture) (Frigerio and Lamborghini, 2009; Parody, 2013). Their grandfather, “Quico” Acosta, taught them how to construct artisanal drums for candombe (an Afro-Uruguayan music and dance rhythm). At the same time, their father encouraged an interest in the arts, African religion, and various forms of cultural resistance.
When Ángel and José were teenagers they traveled to Brazil crossing the border illegally in search of adventure and new ...
also known as Carlos Junior Acosta Quesada, was born on 2 June 1973 in Havana, Cuba. Acclaimed as one of the most brilliant ballet performers of his generation, Carlos Acosta has been a principal dancer of London’s Royal Ballet, the English National Ballet, and the Houston Ballet, as well as a guest star of the American Ballet Theatre, the Paris Opera Ballet, and the Bolshoi Ballet, among other ensembles. He has also performed with his own country’s premier troupe, the Ballet Nacional de Cuba.
No other black ballet dancer has enjoyed a career marked by so many first-rate engagements and prestigious awards. His status as a glittering ballet celebrity, vastly popular with audiences, critics, and the media, is rare for an Afro-descendant, as blacks are underrepresented in this dance form. Through his success and public declarations, Acosta has contributed to eliminating prejudices about blacks’ abilities and suitability for ballet.
was born in Charlotte Amalie, St. Thomas (now the US Virgin Islands) on 4 November 1889. He was the son of Jacob Henry Adams, a carpenter, and Petrina Dinzey, a tailor, and followed their career trajectory as part of the community’s black artisanal class. He served apprenticeships in the trades of carpentry and shoemaking.
With only a primary education and no formal school of music on the islands, Adams studied in the United States. He enrolled at the University of Pennsylvania as well as Carnegie Hall’s School of Music Theory in New York. Unable to sojourn long enough in the States, Adams completed his study of music by correspondence, a mark of distinction of the self-motivation that shaped his life. He attained a bachelor’s degree in music from the University Extension Conservatory of Chicago in 1931.
Adams organized his first musical band in 1904 and launched his ...
was born Wilfred Robert Adams, in Georgetown, British Guiana (now Guyana), the son of Robert Adams, a boat builder. He was educated in Georgetown at St. Stephen’s Scots School, and St. Joseph’s Intermediate. He studied engineering drafting, but then trained as a teacher at the leading British West Indian teachers’ training college, Mico College in Jamaica. After his marriage broke down, he left for England, arriving there in September 1930. Failing to study law because of a lack of the necessary qualifications, he did a number of menial jobs and even became a professional wrestler with the name “The Black Eagle” (there is a 1934 painting by William Roberts of one of his bouts).
Acting then took over. His stage debut, with Paul Robeson in Stevedore, received favorable reviews. A year later he played Jean-Jacques Dessalines to Robeson’s Toussaint Louverture in C. L. R. James’s Toussaint Louverture ...
James Clyde Sellman
was born in Tunapuna, Trinidad and Tobago, to Malcolm and Elitha Addison. Her father was an electrician, and her mother was a schoolteacher and housewife. She later recalled that “my father used to play the guitar, and my brothers were also involved in music, so music was always around me” (Blood, 2013). Her first stage appearance came in 1959 or 1960. Her brother Winston was performing at a community show in Tunapuna and called her out of the audience. She later appeared on television and on Radio Trinidad’s Sunday Serenade. While still a teenager, she made her first recording—a single for Arawak Records, featuring Paul McCartney’s “My Love” backed by her own song, “Tricked and Trapped,” on the B-side.
Her first full-length album, Born to Shine (1976 was released on the Trinidadian label KH Records It featured American style gospel inflected soul music and ...
Nigerian pioneer of juju and world music star, was born Sunday Adeniyi Adé in the southwestern Nigerian city of Ondo on 22 September 1946. His father was a Methodist pastor and the organist for his church, while his mother engaged in various trading enterprises. Through his maternal grandfather, who lived in the town of Akoure, near Ondo, Ade was of royal lineage. By the time he reached his adolescent years, Adé had moved with his family to the town of Oshobo. Although he completed primary school, Adé ended up dropping out of secondary school before completing his studies. His lack of financial resources cut short his formal education. He already had developed eclectic tastes in music through his childhood and adolescent experiences. Traditional Yoruba music featuring drums fascinated the young boy, as did the occasional use of drums at church. Adé remembered in a 2005 interview that when ...
Sunday Anthony Ishola Adeniyi Adegeye, known internationally to African music fans as King Sunny Ade, was raised in a home where Christian and Yoruba religious and cultural perspectives were thoroughly intermingled. Ade's father was a church organist. Ade attended missionary schools, then dropped out of college in the 1960s to pursue a career as a drummer in Juju bands. Juju, a form of Nigerian pop music first developed by Yoruba musicians in the 1920s, was just beginning to gain an international audience. Ade's chief musical inspiration was I. K. Dairo, though Ade's later song lyrics drew more inspiration from his Christian education.
The early 1970s marked the birth of Ade s reputation as an African superstar with an international audience Ade deviated from the Dairo legacy through a series of innovations He expanded the juju band lineup from a single electric guitarist to as many as six played with at ...
During the 1960s and 1970s, influenced by the Civil Rights and Black Power movements in the United States and nationalist movements in Africa, Afro-Brazilians experienced a surge in black pride. This heightened black consciousness was also prompted by denouncements of racism and praises to “Mother Africa” heard in Jamaican Reggae, increasingly popular in Brazil during the 1970s. As a result, black Brazilians, especially those in cities such as Rio de Janeiro, São Paulo, and Salvador, reaffirmed their connection with Africa and became more vocal about problems facing their community, particularly racial discrimination. This process was accelerated by the abertura (opening)—the gradual return to democratic rule that began in 1979 and loosened restrictions on free speech. In Salvador, this newfound black pride reinvigorated the old and waning afoxés and gave birth to a new type of black Carnival organization, the bloco Afro.
Afoxés emerged in the late ...
Artistic forms of expression are deeply ingrained in the black cultural experience and in the lives of African peoples providing a forum for participation in the community and for exploring the mysteries of humanity The artistic forms exert a huge impact on Africa s cultural realities institutions the system of values and her vision for the future in a global context The oral art forms are the best examples of the African imaginative expression and their deployment in performance has become a rallying point for a call to an African renaissance and rejuvenation throughout the continent Although African societies have developed writing traditions Africans are primarily an oral people and it is that tradition that has dominated their cultural norms The term orature which means the artistic use of language in oral performance refers to something that is passed on through the spoken word and because it is based on ...
The Nigerian musicians Fela Anikulapo Kuti, popularly known as Fela, and Orlando Julius Ekemode both claim to have coined the term Afro-Beat to describe their fusion of highlife, soul, jazz, and traditional Nigerian musical styles, including Juju and fuji, during the late 1960s and early 1970s. The music of James Brown and other African American artists contributed heavily to the Afro-Beat style. While the early recordings of Ekemode, such as his hit “Juagua Nana,” show the elements of Afro-Beat, most recognize Fela's band, Africa 70, as the definitive Afro-Beat band. Their 1971 recording “Why Black Men Dey Suffer,” defined the Afro-Beat style, incorporating call-and-response vocals with a unique beat and tempo.
Afro-Beat's popularity stemmed, in part, from Fela's courageous stance against political corruption and economic injustice in Nigeria. This made him a role model for the Nigerian urban underclass and intelligentsia. Writing lyrics in “pidgin” English rather than Yoruba ...
For information on
Art and film: See Art in Latin America and the Caribbean
Brazil: Cinema, Black, in Brazil; Cinema Novo; Diegues; Grande Otelo; Samba, Candomblé, and Quilombo in Brazilian Cinema: An Interpretation.
Capoeira: See Capoeira; Mestre Bimba; Mestre Pastinha.
Carnival: See Carnivals in Latin America and the Caribbean; Afoxés/Blocos Afros; Filhos de Gandhi; Ilê Aiyê; Olodum; Samba Schools.
Music and dance: Berimbau; Contemporary Afro-Brazilian Music; Samba; Tia Ciata; Tropicália.
Musicians: See Benjor; Bola Sete;Brown; Cartola; Caymmi; Djavan; Donga; Garcia; Gil; Jesus; Moreira and Purim; Nascimento; Pandeiro; Pixinguinha; Science; Vasconcelos.
Language: See African Linguistic Influences on Brazilian Portuguese; Cafundó; Complexities of Ethnic and Racial Terminology in Latin America and the Caribbean ...
The Afro–Central American population is found mainly on the eastern shore of the Central American isthmus and can be broken into two principal groups: Creoles and Garifuna (or Garinagu). Historically, the primary cultural and economic orientation of these groups has been toward the greater Caribbean basin, that is, the islands of West Indies. Thus, Afro–Central American culture developed with little contact from the western part of the isthmus until well into the twentieth century. Even in the late twentieth century, immigration by Afro-Central Americans into respective capital cities in the interior was minimal and sporadic. Such immigration was even legally restricted in some places (for example, Afro-Costa Ricans were barred from San José, Costa Rica, up until the 1960s).
Creoles are primarily found in Nicaragua and Costa Rica The contemporary population totals around 100 000 and is concentrated in urban and semi urban areas such as Bluefields and ...
Sudanese military figure and song composer, was an Agar Dinka woman from the Nyang section born of an Yibel mother in Dinkaland in South Sudan. She is perhaps the most famous female military commander in Southern Sudanese history and also one of the most famous song composers. She became a role model for younger twentieth-century women as an example of new female leadership in a rapidly changing society.
In the early 1960s Ager Gum was living as most other Dinka women did However she experienced a series of personal misfortunes She was married three times but all her marriages failed in part because most of her children proved unable to survive the harsh health conditions of South Sudan where preventative vaccinations and medicines were rarely available The father of her sole surviving child a son named Chol demanded the return of the wedding cattle that comprised her bridewealth thus ...
Baqi<ayn>e Bedawi Muhammad
pioneer Sudanese woman singer and activist during the struggle for Sudanese independence and the first woman to perform on the radio in Sudan. Born in 1905 in Kassala City in the eastern region of Sudan, Ahmad was the eldest among her seven siblings, including three brothers and four sisters. Among them was a sister Jidawiyya who played a crucial role with Ahmad in their journey as female musicians. Ahmad’s family was originally from Nigeria and migrated to Sudan in the late nineteenth century as pilgrims on their way to the holy places in Saudi Arabia. Her father, Musa Ahmad Yahiyya, was from the Fulani-Sokoto ethnic group, while her mother, Hujra, was from Hausa. Ahmad’s nickname is Aisha al-Falatiyyia, a reference to her father’s ethnic group, the Fulani, or Fallata, as they are known in Sudan.
The documented history indicates that Sudan served as a crossroads to the holy places in ...
was born Oliver Anthony Stephens on 22 April 1927 in Santiago, Cuba, to a Jamaican father and a Cuban mother. One of six brothers, he spent his early childhood in Cuba, speaking Spanish; over the years, he learned Italian and French as well, and his multilingual singing abilities would contribute to his international marketability as a pop singer. His father moved the family back to Kingston, Jamaica, in 1938, where Stephens absorbed many different styles of music over the radio and in the streets—American rhythm and blues heard over New Orleans radio stations broadcast across the Caribbean, the hits of jazz crooners from the United States and Britain, and mento, the local guitar and horn version of calypso in Jamaica. In 1942, at age 15, he sang in a major local talent show Vere John’s Opportunity Hour, winning and collecting 2 pounds; he entered Opportunity Hour ...
His father, Benjamin, was an accountant and his mother Molly (née Ekere) was a teacher and a singer, and the family belonged to the Ibibio ethnic group, chiefly resident in Akwa Ibom state in southeastern Nigeria. Akpabot taught himself to play piano when he was young. After he graduated from primary school, he moved to Lagos, where he enrolled at King’s College secondary school, which was known for its classical musical education. Akpabot also sang treble in the choir of the Anglican Cathedral Church of Christ until 1949, and he worked under Thomas Ekundayo Phillip, a skilled educator who ran the choir and taught the singers about Western classical choral music. Once he graduated from King’s College, he worked as a sports reporter for the Lagos Daily Times. During his secondary school days, Akpabot had starred on the soccer field.
In 1949 he left the choir and ...
Nigeriancomposer, organist, and ethnomusicologist born in Uyo, Akwa Ibom state, Nigeria, in 1932. In his early education at King's College, Lagos, and as a chorister at Christchurch Cathedral, in that city, he was exposed to European classical music, Mendelssohn being his favourite composer. His musical outlook was eclectic, and he was involved in dance bands such as the Chocolate Dandies and the Akpabot Players (his own band), formed in 1949, as well as being organist at St Saviour's Anglican Church in Lagos.
Akpabot studied the trumpet and organ in London at the Royal College of Music in 1954, with teachers such as John Addison, Osborn Pisgow, and Herbert Howells. Study at the University of Chicago yielded a Master's degree in Musicology, and he also received a Ph.D. from Michigan State University. He was a broadcaster for the Nigerian Broadcasting Corporation (1959 ...