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Select BibliographyGeneralAppadurai, Arjun (1990). “Disjuncture and Difference in the Global Cultural Economy.” Public Culture 2(2): 1-24. Holton, Robert (2000). “Globalization's Cultural Consequences.” The Annals of the American Academy of Political and Social Science 570: 140-52. [on reserve] Chambert, Christian and Svenska konstkritikersamfundet (1995). Strategies for survival -- now!: a global perspective on ethnicity, body and breakdown of artistic systems. Lund, Sweden, Swedish Art Critics Association Press. ArtBeauchamp-Byrd, M. J., M. F. Sirmans, et al. (1997). Transforming the crown: African, Asian & Caribbean artists in Britain, 1966-1996. New York, Franklin H. Williams Caribbean Cultural Center/African Diaspora Institute. Bomani, A. and B. Rooks, Eds. (1992). Paris Connections: African and Caribbean artists in Paris. San Francisco, Q.E.D. Press. Marsala (Italy). Galleria civica d'arte contemporanea. (1991). Il Sud del mondo: l'altra arte contemporanea. Milano, Mazzotta. Martin, J.-H. and e. al. (1989). Magiciens de la terre. Paris, Editions du Centre Pompidou. Thomas, N. (1999). Possessions: indigenous art, colonial culture. New York, N.Y., Thames and Hudson. MusicBohlman, Philip V (1997). World music and world religions: Whose world? Enchanting Powers: Music in the world's religions. L. E. Sullivan. Cambridge, Harvard University Press for the Harvard University Center for the Study of World Religions: 61-90. Born, G. and D. Hesmondhalgh, Eds. (2000). Western music and its others: difference, representation, and appropriation in music. Berkeley, University of California Press. Ewbank, A. J. and F. T. Papageorgiou, Eds. (1997). Whose master's voice?: the development of popular music in thirteen cultures. Contributions to the study of music and dance no. 41. Westport, Conn., Greenwood Press. Feld, S. (1995). From Schizophnia to Schisomogenesis: the discourses and practices of world music and world beat. The traffic in culture: refiguring art and anthropology. G. E. Marcus and F. R. Myers. Berkeley, University of California Press: 96-126. Laing, D. (1986). “The Music Industry and the 'Cultural Imperialism' Thesis.” Media, Culture and Society 8: 331-341. Lipsitz, George (1994). Dangerous Crossroads: Popular Music, Postmodernism, and the Poetics of Place. New York, Verso. Nettl, B., R. M. Stone, et al., Eds. (1998). The Garland encyclopedia of world music. New York, Garland Pub. 10 volumes Roberts, M. (1992). “'World Music' and the Global Cultural Economy.” Diaspora 2(2): 229-242. Schnabel, T. (1998). Rhythm planet: the great world music makers. New York, Universe Pub. Taylor, T. D. (1997). Global pop: world music, world markets. New York, Routledge. Weinstein, N. C. (1993). A Night in Tunisia: imaginings of Africa in jazz. New York, Limelight Editions. AfricaArtDeliss, C., Whitechapel Art Gallery., et al. (1995). Seven stories about modern art in Africa: an exhibition. Paris; New York, Flammarion. Kasfir, S. L. (1999). Contemporary African Art. London ; New York, Thames & Hudson. Oguibe, O. and O. Enwezor, Eds. (1999). Reading the contemporary: African art from theory to the marketplace. London; Cambridge, Mass., Institute of International Visual Arts; MIT Press. Vogel, S. (1991). Africa Explores: 20th Century African Art. New York, The Center for African Art. MusicBender, W. (1991). Sweet Mother: Modern African Music. Chicago, University of Chicago Press. Collins, J. (1985). Music Makers of West Africa. Washington, D.C., Three Continents Press. Collins, J. (1992). West African Pop Roots. Philadelphia, Temple University Press. Stewart, G. (1992). Breakout: profiles in African rhythm. Chicago, University of Chicago Press. Stone, R. M., Ed. (1999). The Garland handbook of African music. Garland reference library of the humanities ; vol. 1170. New York, Garland. Senegal and MaliArtAherne, T. D. (1992). Nakunte Diarra: bogolanfini artist of the beledougou. Bloomington, Indiana University Art Museum. Bouttiaux, A.-M. and Musée royal de l'Afrique centrale. (1994). Senegal behind glass: images of religious and daily life. Munich ; New York, Prestel in association with the Royal Museum of Central Africa. McEvilley, T. and Museum for African Art (New York N.Y.) (1993). Fusion: West African Artists at the Venice Biennale. New York, Munich, Museum for African Art; Prestel. Harney, E. (1995). “The tapestries of Thies: woven images of negritude.” Art of African textiles: technology, tradition, and lurex. J. Picton. London, Barbican Art Gallery; Lund Humphries Publishers: 33-34. Seck, A. (1980). Contemporary art of Senegal : [catalogue of an exhibition]. s.l., s.n.
Cathcart, Jenny (1989). Hey you!: a portrait of Youssou N'Dour. Witney [England]; Longmead, Shaftesbury, Dorset, Fine Line; Distributed by Element Books. Charry, E. S. (2000). Mande music: traditional and modern music of the Maninka and Mandinka of Western Africa. Chicago, University of Chicago Press. Eyre, Banning (2000). In griot time: an American guitarist in Mali. Philadelphia, Temple University Press. Suso, F. M. and et al (1996). Jali Kunda Griots of West Africa and beyond. Roslyn, NY, Ellipsis Arts. NigeriaArtAas, N. (1994). “Obiora Udechukwu: Uli art and beyond.” NKA: journal of contemporary African art 1: 60-61. Beier, U. (1991). Thirty Years of Oshogbo Art. Bayreuth, Iwalewa. Malone, A. (1990). Nigerian art: kindred spirits. Alexandria, VA, PBS Video. Oguibe, Olu (1999). “Finding a Place: Nigerian Artists in the Contemporary Art World.” Art Journal 58(2): 31-42. Ottenberg, S. (1997). New traditions from Nigeria: seven artists of the Nsukka group. Washington [D.C.], Smithsonian Institution Press in association with the National Museum of African Art. Vaz, K. M. (1995). The Woman with the Artistic Brush: a life history of Yoruba batik artist Nike Davies. Armonk, M.E. Sharpe.
Moore, C. (1982). Fela, Fela, this bitch of a life. London, Allison & Busby. Thomas, T. Ajayi (1992). History of juju music: a history of an African popular music from Nigeria. Jamaica, NY, The Author Veal, M. E. (2000). Fela: the life & times of an African musical icon. Philadelphia, Temple University Press. Waterman, C. A. and A. Adeleke (1990). Jùjú: a social history and ethnography of an African popular music. Chicago, The University of Chicago Press. Waterman, Christopher Alan (1990). “"Our tradition is a very modern tradition": Popular music and the construction of Pan-Yoruba identity.” Ethnomusicology 34(3): 367-380. Central Africa (Democratic Republic of Congo)ArtFabian, Johannes (1996). Remembering the present: painting and popular history in Zaire. Berkeley, University of California Press. Jewsiewicki, B. (1991). Painting in Zaire: from the invention of the West to the representation of social self. Africa Explores: 20th century African art. S. M. Vogel. New York, Center for African Art: 56-77. Jewsiewicki, B., J.-C. Lefebvre, et al. (1995). Chéri Samba: the hybridity of art = l'hybridité d'un art. Westmount, Québec, Galérie Amrad African Art Publications.
Feld, S. (2000). “The poetics and politics of Pygmy pop.” Western music and its others: difference, representation, and appropriation in music. G. Born and D. Hesmondhalgh. Berkeley, University of California Press. Gondola, Ch. Didier (1997). “Popular music, urban society, and changing gender relations in Kinshasa, Zaire (1950-1990).” Gendered encounters: challenging cultural boundaries and social hierarchies in Africa. M . L. Grosz-Ngaté and O. H. Kokole. New York, Routledge. Kazadi wa Mukuna (1992). “The genesis of urban music in Zaïre.” African music (Grahamstown, SA) 7(2): 72-84. Sarno, L. (1993). Song from the forest: my life among the Ba-Benjellé Pygmies. Boston, Houghton Mifflin. Sarno, L. and B. L. Krause (1995). Bayaka: the extraordinary music of the Babenzele pygmies and sounds of their forest home. Roslyn, Ellipsis Arts. Stewart, G. (2000). Rumba on the river: a history of the popular music of the two Congos. London ; New York, Verso. East AfricaArtAgthe, J. (1994). “Religion in Contemporary East African Art.” Journal of Religion in Africa 24(4): 375-388. Berns, M. C. and National Museum of African Art (1995). Ceramic gestures: new vessels by Magdalene Odundo. Washington, National Museum of African Art. Nyachae, W. (1995). Concrete narratives and visual prose: two stories from Kenya and Uganda. Seven stories about modern art in Africa: an exhibition. C. Deliss, Whitechapel Art Gallery., Malmö konsthall. and Guggenheim Museum Soho. Paris; New York, Flammarion: 158-189, 316-317. Odundo, M., Y. Joris, et al. (1994). Magdalene Odundo. 's-Hertogenbosch, Museum Het Kruithuis. Sahlström, B. (1995). East and southern African contemporary arts and crafts. Islamic art and culture in Sub-Saharan Africa. K. Ådahl and B. Sahlström. Uppsala, Almqvist & Wiksell International: 149-161.
Askew, K. M. (1996). Taarab music in Tanzania: performance, cultural politics, and the nation. Working paper (University of Michigan. Center for Afroamerican and African Studies); #23. Martin, S. H. (1991). “Popular music in urban east Africa: from historical perspective to a contemporary hero.” Black music research journal 11(1): 39-53. Mekacha, R. D. K. (1992). “Are women devils?: the portrayal of women in Tanzanian popular music.” Sokomoko popular culture in East Africa. W. Graebner. Amsterdam, Rodopi: 99-113. Ntarangwi, Mwenda (2001). Gender, performance & identity: understanding Swahili cultural identity through songs. Trenton NJ, Africa World Press. Samite, G. H. Ivers, et al. (1997). Song of the refugee a message of hope from Africa. [S.l.], Distributed by PBS Adult Learning Service. ZimbabweArtCousins, J. (1991). “The Making of Zimbabwean Stone Sculpture.” Third Text 13: 31-42. Dewey, W. J. (1997). Legacies of stone: Zimbabwe past and present. Tervuren, Royal Museum for Central Africa. Pearce, C. (1993). “The Myth of "Shona Sculpture."” Zambezia 20(2): 85-107. Sultan, O. (1992). Life in stone: Zimbabwean sculpture: birth of a contemporary art form. Harare, Baobab Books. (1990). Art from the Frontline: contemporary art from Southern Africa. London, Karia Press.
Berliner, P. (1993). The soul of mbira: music and traditions of the Shona people of Zimbabwe: with an appendix, Building and playing a Shona karimba. Chicago, University of Chicago Press. Kwaramba, A. D. (1997). Popular music and society: the language of protest in Chimurenga music: the case of Thomas Mapfumo in Zimbabwe. Oslo, Norway, Department of Media and Communication University of Oslo. Turino, Thomas (2000). “Race, class and musical nationalism in Zimbabwe.” Music and the racial imagination. R. Radano and P. V. Bohlman. Chicago, University of Chicago Press. Turino, T. (2000). Nationalists, cosmopolitans, and popular music in Zimbabwe. Chicago, University of Chicago Press. South AfricaArtArnold, M. I. (1996). Women and art in South Africa. New York, Cape Town, St. Martin's Press, David Philip. Herreman, F., M. D'Amato, et al. (1999). Liberated voices: contemporary art from South Africa. New York; Munich, The Museum for African Art; Prestel. Hobbs, P. and E. D. Rankin (1997). Printmaking: in a transforming South Africa. Cape Town ; Johannesburg, D. Philip. Klopper, S. (1996). “Whose Heritage?: the Politics of Cultural Ownership in Contemporary South Africa.” NKA: Journal of Contemporary African Art 5: 34-37. Sack, S. (1988). The Neglected Tradition: Towards a New History of South African Art (1930-1988). Johannesburg, Johannesburg Art Gallery. Williamson, S. (1990). Resistance art in South Africa. New York, St. Martin's Press. Williamson, S. and A. Jamal (1996). Art in South Africa: the future present. Cape Town, David Philip. Younge, G. (1988). Art of the South African Townships. New York, Rizzoli.
Coplan, D. B. (1985). In township tonight!: South Africa's Black city music and theatre. London; New York, Longman. Coplan, D. B. (1993). A Terrible Commitment: Balancing the Tribes in South African National Culture. Perilous States: Conversations on Culture, Politics, and Nation. G. E. Marcus. Chicago, University of Chicago Press: 305-358. Coplan, D. B. (1994). In the time of cannibals: the word music of South Africa's Basotho migrants. Chicago, University of Chicago Press. Erlmann, V., Ed. (1991). African stars: studies in Black South African performance. Chicago studies in ethnomusicology. Chicago, University of Chicago Press. Erlmann, V. (1996). Nightsong: performance, power, and practice in South Africa. Chicago, University of Chicago Press. Erlmann, V. (1999). Music, modernity, and the global imagination : South Africa and the West. New York, Oxford University Press. James, D. and International African Institute. (1999). Songs of the women migrants: performance and identity in South Africa. Johannesburg, South Africa, Witwatersrand University Press for the International African Institute. Caribbean
Coleman, F. W. (1991). “Persistence of African influence in artistic expression in the Caribbean: a dynamic cultural mosaic.” International review of African American art 9(3): 4-21. Nunley, J. W. and J. Bettelheim (1988). Caribbean Festival Arts: Each and Every Bit of Difference. St. Louis, The Saint Louis Art Museum. Paul, A. and C. Cozier, Eds. (1999). Debating the contemporary in Caribbean art. Small axe; no. 6. Kingston, Jamaica, W. I., University of West Indies Press for the Small Axe Collective. Poupeye, V. (1998). Caribbean art. New York, N.Y., Thames and Hudson.
Allen, R. and L. Wilcken, Eds. (1998). Island sounds in the global city: Caribbean popular music and identity in New York. New York, New York Folklore Society: Institute for Studies in American Music Brooklyn College. Aparicio, F. R. (1998). Listening to salsa: gender, Latin popular music, and Puerto Rican cultures. Hanover, NH, University Press of New England. Béhague, G. and University of Miami. North-South Center, Eds. (1994). Music
and Black ethnicity: the Caribbean and South America. New Brunswick, N.J.,
Transaction Berrian, B. F. (2000). Awakening spaces: French Caribbean popular songs, music, and culture. Chicago, [Ill.], University of Chicago Press. Browning, B. (1998). Infectious rhythm: metaphors of contagion and the spread of African culture. New York, Routledge. Guilbault, J., G. Averill, et al. (1993). Zouk: world music in the West Indies. Chicago, University of Chicago Press. Hebdige, D. (1990). Cut 'n' mix: culture, identity, and Caribbean music. London, Routledge. Manuel, P. L., K. M. Bilby, et al. (1995). Caribbean currents: Caribbean music from rumba to reggae. Philadelphia, Temple University Press. Jamaica
Bender, W. (1992). Rastafari-Kunst aus Jamaica. Bremen, CON. Boxer, D. and V. Poupeye (1998). Modern Jamaican art. Kingston [Jamaica], Ian Randle Publishers. Boxer, D. and Hayward Gallery. (1995). New world imagery: contemporary Jamaican art. London, South Bank Centre. Cultural Center, I.-A. D. B. (1997). Three moments in Jamaican art. Tres momentos en las artes de Jamaica: December 4, 1997 to February 6, 1998, Cultural Center, Inter-American Development Bank. Washington, D.C., Inter-American Development Bank. Institute of New International Visual Arts., October Gallery., et al. (1994). Home & away: seven Jamaican artists, African, Leonard Daley, Rex Dixon, Milton George, Petrona Morrison, Eugene Palmer, Danijah Tafari : 17 February-12 March 1994, the October Gallery, London. Bristol, E. Chambers. Morris, R. and Diggs Gallery. (1997). Redemption songs: the self-taught artists of Jamaica. Winston-Salem, N.C., Winston-Salem State Univ.
Foster, C. (1999). Roots, rock, reggae: an oral history of reggae music from ska to dancehall. New York, Billboard. Jahn, B. and T. Weber (1998). Reggae island: Jamaican music in the digital age. New York, Da Capo Press. Potash, C., Ed. (1997). Reggae, Rasta, revolution: Jamaican music from ska to dub. New York; London, Schirmer Books; Prentice Hall International. Stolzoff, N. C. (2000). Wake the town & tell the people: dancehall culture in Jamaica. Durham N.C., Duke University Press. Waters, A. M. (1985). Race, class, and political symbols: Rastafari and reggae in Jamaican politics. New Brunswick, U.S.A., Transaction Books. Trinidad
Butcher, J. (1989). “Peter Minshall: Trinidad carnival and the carnivalesque.” International review of African American art 8(3): 39-48. Mason, P. (1998). Bacchanal!: the carnival culture of Trinidad. Philadelphia, PA, Temple University Press. October Gallery (1992). Contemporary painting: Trinidad and Tobago: LeRoy Clarke, Isaiah James Boodhoo, Kenwyn Crichlow [and] Emheyo Bahabba. Port of Spain, October Gallery. Riggio, M. C. (1998). “Resistance and identity: Carnival in Trinidad and Tobago.” TDR 42(3): 7-23.
Guilbault, Jocelyne (2000). “Racial projects and musical discourses in Trinidad, West Indies.” Music and the racial imagination. R. Radano and P. V. Bohlman. Chicago, University of Chicago Press. Manuel, Peter (2000). “Ethnic identity, national identity and music in Indo-Trinidadian culture.” Music and the racial imagination. R. Radano and P. V. Bohlman. Chicago, University of Chicago Press. Stuempfle, S. (1995). The Steelband movement the forging of a national art in Trinidad and Tobago. Philadelphia, University of Pennsylvania Press. Haiti
Brown, K. M. (1996). “Art and resistance: Haiti's political murals, October 1994.” African Arts 29(2): 46-57, 102. Cosentino, D. and University of California Los Angeles. Fowler Museum of Cultural History., Eds. (1995). Sacred arts of Haitian vodou. Los Angeles, UCLA Fowler Museum of Cultural History. Davenport Museum of Art (Davenport Iowa) and K. M. Brown (1995). Tracing the
spirit: ethnographic essays on Haitian art: from the collection of the Davenport
Museum of Art. Davenport, Iowa Seattle, The Museum, Distributed by the
University of Washington Press. Rodman, S. (1988). Where Art Is Joy: Haitian Art: The First Forty Years. New York, Ruggles de Latour. Tselos, S. E. (1996). “Threads of reflection: costumes of Haitian Rara.” African Arts v. 29 (Spring '96) p. 58-6 29(2): 58-65.
Averill, G. (1994). 'Se kreyol nou ye' / "We're Creole": musical discourse on Haitian identities. G. Béhague and University of Miami. North-South Center. New Brunswick, N.J., Transaction Publishers. Averill, G. (1997). A day for the hunter, a day for the prey: popular music and power in Haiti. Chicago, University of Chicago Press. Fleurant, G. (1996). Dancing spirits: rhythms and rituals of Haitian Vodun, the Rada rite. Westport, Conn., Greenwood Press. McAlister, E. A. (2002). Rara!: vodou, power, and performance in Haiti and its diaspora. Berkeley, University of California Press. CubaKirk, J. M. and L. Padura (2001). Culture and the Cuban Revolution: conversations in Havana. Gainesville, FL, University Press of Florida.
Bettelheim, Judith, Ed. (1993). Cuban festivals: an illustrated anthology. Garland references library of the humanities ; vol. 1444. Studies in ethnic art ; vol. 3. New York, Garland. Camnitzer, Luis (1994). New art of Cuba. Austin, TX, University of Texas Press. Flores-Peña, Ysamur and Roberta J. Evanchuk (1994). Santería garments and altars: speaking without a voice. Jackson, University Press of Mississippi. Fuentes-Pérez, I., G. Cruz-Taura, et al. (1989). Outside Cuba: contemporary Cuban visual artists. New Brunswick; Coral Gables, Office of Hispanic Arts Mason Gross School of the Arts Rutgers the State University of New Jersey; Research Institute for Cuban Studies Graduate School of International Studies University of Miami Florida. Martínez, J. A. (1994). Cuban art and national identity: the Vanguardia painters, 1927-1950. Gainesville, University Press of Florida. Power, K. and Track 16 Gallery and Mainspace. (1999). While Cuba waits: art from the nineties. Santa Monica, Smart Art Press. Zeitlin, Marilyn, Gerardo Mosquera, et al. (1999). Contemporary art from Cuba: irony and survival on the utopian island = Arte contemporáneo de Cuba: ironía y sobrevivencia en la isla utópica. New York, Arizona State University Press/Delano Greenidge Editions.
Daniel, Y. (1995). Rumba: dance and social change in contemporary Cuba. Bloomington, Indiana University Press. Manuel, P. L., Ed. (1991). Essays on Cuban music: North American and Cuban perspectives. Lanham, Md., University Press of America. Moore, R. (1997). Nationalizing blackness: afrocubanismo and artistic revolution in Havana, 1920-1940. Pittsburgh, Pa., University of Pittsburgh Press. Rodriguez, V. E. (1994). “Cuban music and ethnicity: historical considerations.” Music and Black ethnicity: the Caribbean and South America. G. Béhague and University of Miami. North-South Center. New Brunswick, N.J., Transaction Publishers. Wenders, W., D. Wenders, et al. (2000). Buena Vista Social Club: the companion book to the film. New York, te Neues. Latin AmericaBrazil
Aguilar, N., Fundação Bienal de São Paulo., et al. (2000). Afro-Brazilian art. São Paulo, SP, Brasil, Fundação Bienal de São Paulo: Associação Brasil 500 Anos Artes Visuais. Araújo, E. and C. E. M. d. Moura (1994). Art in Afro-Brazilian religion. São Paulo, SP, Brasil, Câmara Brasileira do Livro. Drewal, H. J., D. C. Driskell, et al. (1989). Introspectives: contemporary
art by Americans and Brazilians of African descent. Los Angeles, Calif.,
California Afro-American Museum Foundation. Sullivan, E. J. (2001). Brazil: Body and Soul. New York, Guggenheim Museum.
Browning, B. (1995). Samba: resistance in motion. Bloomington, Indiana University Press. Carvalho, J. J. d. (1994). “Black music of all colors: the construction of black ethnicity in ritual and popular genres of Afro-Brazilian music.” Music and Black ethnicity: the Caribbean and South America. G. Béhague and University of Miami. North-South Center. New Brunswick, N.J., Transaction Publishers. Carvalho, J. J. d. (1999). “The multiplicity of black identities in Brazilian popular music.” Black Brazil: culture, identity, and social mobilization. L. Crook and R. Johnson. Los Angeles, UCLA Latin American Center Publications University of California Los Angeles. Dunn, C. (2001). Brutality garden: Tropicália and the emergence of a Brazilian counterculture. Chapel Hill, University of North Carolina Press. Fryer, P. (2000). Rhythms of resistance: African musical heritage in Brazil. London, Pluto. McGowan, C. and R. Pessanha (1998). The Brazilian sound: samba, bossa nova, and the popular music of Brazil. Philadelphia, Temple University Press. Perrone, C. A. and C. Dunn, Eds. (2001). Brazilian popular music & globalization. Gainesville, University Press of Florida. Shaw, L. (1999). The social history of the Brazilian samba. Aldershot, England ; Brookfield, VT, Ashgate. Vianna, H. and J. C. Chasteen (1999). The mystery of samba: popular music & national identity in Brazil. Chapel Hill, University of North Carolina Press. |
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