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Methods in performing Fela in contemporary Afrobeats, 2009–2019
African Studies ( IF 1.0 ) Pub Date : 2020-01-02 , DOI: 10.1080/00020184.2020.1750349
Garhe Osiebe 1
Affiliation  

ABSTRACT In the 1982 documentary Music is the Weapon, Fela Anikulapo Kuti, arguably the inventor of Afrobeat, pronounced that: ‘My name is Anikulapo: I have death in my pouch. I can’t die. They can’t kill me!’ Fela passed on in 1997, yet his revolutionary practice, in message and in musical form, means that he lives on in the imagination. Over the last decade, Afrobeat has transformed in both terminology and practice. For some, Afrobeat has morphed into an ‘apolitical genre by an industry more concerned [ … ] with producing easy listening [and danceable] music’ (Negus 1996, 41). While Fela’s sons Femi and Seun Kuti continue to play Afrobeat as originally proposed, thus maintaining a relative patent on their father’s invention, the bulk of the current usage relies on simulation and as Afrobeats. This paper focuses on the practices of a selection of Afrobeats musicians who have appropriated the text, synthesised the sound, conjured the appearance and invoked the name and symbolisms of Fela. The paper draws from Tejumola Olaniyan’s delineation of the stages in Fela’s creative career in illustrating how contemporary popular musicians entextualise Fela in their respective creative careers. These Afrobeats artists have performed the ‘Fela stages’ in their corresponding bodies of work through several means including, but not limited to, the textually analogous, dedicatory, apparitional, amalgamated, and by the means of coming to realisation.

中文翻译:

在当代 Afrobeats 中表演 Fela 的方法,2009-2019

摘要 在 1982 年的纪录片《音乐是武器》中,可以说是 Afrobeat 的发明者 Fela Anikulapo Kuti 宣称:“我的名字是 Anikulapo:我的口袋里有死亡。我不能死。他们不能杀我!费拉于 1997 年去世,但他的革命性实践,在信息和音乐形式上,意味着他活在想象中。在过去十年中,Afrobeat 在术语和实践方面都发生了变化。对于某些人来说,Afrobeat 已经变成了“一个更关心 [……] 制作轻松听[和可跳舞]音乐的行业的非政治流派”(Negus 1996, 41)。虽然 Fela 的儿子 Femi 和 Seun Kuti 继续按照最初的提议演奏 Afrobeat,从而保持了他们父亲发明的相关专利,但目前大部分使用依赖于模拟和 Afrobeats。本文重点介绍了一些 Afrobeats 音乐家的做法,他们挪用了文本、合成了声音、召唤了外观并引用了 Fela 的名字和象征意义。这篇论文借鉴了 Tejumola Olaniyan 对 Fela 创作生涯阶段的描述,以说明当代流行音乐家如何将 Fela 融入他们各自的创作生涯中。这些 Afrobeats 艺术家通过多种方式在其相应的作品主体中表演了“Fela 阶段”,包括但不限于文本类比、奉献、幻影、合并和实现的方式。这篇论文借鉴了 Tejumola Olaniyan 对 Fela 创作生涯阶段的描述,以说明当代流行音乐家如何将 Fela 融入他们各自的创作生涯中。这些 Afrobeats 艺术家通过多种方式在其相应的作品主体中表演了“Fela 阶段”,包括但不限于文本类比、奉献、幻影、合并和实现的方式。这篇论文借鉴了 Tejumola Olaniyan 对 Fela 创作生涯阶段的描述,以说明当代流行音乐家如何将 Fela 融入他们各自的创作生涯中。这些 Afrobeats 艺术家通过多种方式在其相应的作品主体中表演了“Fela 阶段”,包括但不限于文本类比、奉献、幻影、合并和实现的方式。
更新日期:2020-01-02
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