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Anne Elise Thomas

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 ...

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Mussie Tesfagiorgis

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 ...

Article

Donna M. DeBlasio

The acculturation of newly arrived enslaved Africans to the New World involved the interaction between Europeans and Africans. In this complex process Africans were often able to fuse their native culture with that of the Europeans who were their new masters. Indeed, elements of African traditions survived in many forms, including religion, dance, music, folklore, language, decorative arts, and architecture. With the closing of the slave trade and a decreasing number of native-born Africans, intense acculturation abated. Over time both cultures, European and African, were transformed by their coexistence and sharing of traditions. The richness and variety of American culture owes much to traditions brought by Africans to the New World.

Religious practices and beliefs were central to both the Africans and the Europeans Early in slavery s history in North America many whites actually opposed converting slaves to Christianity They believed that baptizing African slaves might give them ideas ...

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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 ...

Article

Mark Clague and John H. Zimmerman

flutist, composer, bandmaster, music educator, journalist, and hotelier, was born in Charlotte Amalie, St. Thomas, Danish West Indies (later U.S. Virgin Islands) and is remembered as the U.S. Navy's first African American bandmaster. Adams was the son of Jacob Henry Adams, a carpenter, and Petrina Evangeline Dinzey, a tailor; both his parents were members of the black artisan class centered around St. Thomas's port. This culture celebrated music and literature and instilled the young Adams with values of hard work and self-education. Although professional musicians were unknown in the Virgin Islands in his youth, Adams dreamt of a musical career inspired by his deeply held belief that music was not just entertainment, but vital to community health.

Adams attended elementary school and apprenticed as a carpenter and then a shoemaker choosing his trade based on the musical abilities of his master ...

Article

Jeremy Rich

was born in the multiracial District Six neighborhood of Cape Town, South Africa on 21 April 1929. His birth name was James Christian Apolis Adams. Arnie Adams, his father, was a barber, and moved the family to the Salt River section of Cape Town when Adams was a young boy, and he was raised there rather than in District Six. He lost two brothers to illnesses while he was quite young. Adams first became involved in music thanks to his father, who belonged to a dance band. By 1929 Adams had learned to play the banjo and had joined his father’s group.

During his early adolescence, Adams had joined the popular musician Leslie Stiger’s Senators of Swing. Stigers owned a second-hand store just across the road from Adams’ father’s barber shop. Around 1947 Adams met the saxophonist Tim Hawker who introduced Adams to the alto saxophone At a ...

Article

Jeremy Rich

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 ...

Article

Norman Weinstein

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 ...

Article

Aaron Myers

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 ...

Article

Lupenga Mphande

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 ...

Article

Ari Nave

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 ...

Article

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 ...

Article

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 ...

Article

Stephanie Beswick

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 ...

Article

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 ...

Article

Philip Herbert

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 ...

Article

Abdul Karim Bangura

Abu Nasr Muhammad ibn al-Farakh al-Farabi, or Muhammad ibn Muhammad ibn Tarkhan ibn Uzalagh al-Farabi, was born in 870 c.e in Kazakhstan or Persia or Afghanistan Also known in the West as Alpharabius he is considered by many to be the greatest philosopher scientist and musicologist of his era and perhaps one of the greatest Muslim philosophers in all of history As a political philosopher al Farabi sought out answers to many of the most difficult questions facing the Islamic world during his lifetime He questioned the relations between humankind and God the role of the intermediary the influence of the divine law in private life and the limitations of the human mind He went beyond the divine law and searched for humankind s place in the universe and our relationship with nature society and the divine law He inquired about the different types of political institutions ...

Article

Elizabeth Heath

Mousstapha Alassane, one of Niger's first filmmakers, excels in animation, a genre of film typically ignored in Africa. His work aims to preserve and revalue his African cultural heritage and to provide biting social commentary on Niger's postcolonial bourgeoisie.

Alassane was born in N’Jougou, Benin. He moved with his family to Niger in 1953. While in primary school, he began to develop the film style he would later polish as an adult. Alassane entertained his relatives and friends with shadow shows and makeshift cartoons drawn on translucent wrappings and shown through a projector he built. Throughout his teenage years, he refined his animation technique and at the age of twenty, he produced two short animated films—Le Piroguier (The Canoe-Paddler) and La Pileuse de mil Woman Pounding Millet While working at the Institut Fondamental d Afrique Noire Alassane had the opportunity to show these films to French ...

Article

Sada Niang

Nigerois filmmaker, was born in Ndougou (Niger). A mechanic by trade, he revealed himself to be an inventive young man at an early age. When no film theater existed in his village, indeed at a time when most of his fellow villagers had never seen a film, Alassane drew characters on cardboard, cut them out, and offered his fellow villagers their first cinematic experience by animating a rudimentary set of puppets.

In 1960 Alassane met Jean René Debrix and with his support obtained employment at the Institut d Afrique Noire Ifan in Niamey Later on two major figures exerted profound influence on the art and filmmaking career of Moustapha Alassane Jean Rouch a French engineer turned Africanist and advocate of direct anthropology and Norman McLaren a Scottish Canadian who made his first film at age twenty and later became the animation guru at the studios of National Film Board ...

Article

Philip Herbert

Composer, contralto, successful vocal coach, accompanist, and teacher. She was the youngest daughter of the famous African‐American actor Ira Aldridge, and born in Upper Norwood, London. Early on she was educated at a convent school in Belgium. At the age of 17 she was awarded a scholarship to study singing at the Royal College of Music. Her teachers included Jenny Lind and George Henschel for singing, along with Frederick Bridge and Frances Edward Gladstone for harmony and counterpoint.

Aldridge's career was successful and varied, as a contralto until an attack of laryngitis damaged her voice, an accompanist, vocal coach, and later a composer. She accompanied her brother Ira Frederick Aldridge on musical tours until his death in 1886. She also accompanied her sister Luranah in concerts at many well‐known London venues at the turn of the 20th century.

Aldridge also played a seminal ...