| dc.creator |
Sanga, Imani |
|
| dc.date |
2016-03-14T12:24:07Z |
|
| dc.date |
2016-03-14T12:24:07Z |
|
| dc.date |
2011-06 |
|
| dc.date.accessioned |
2018-03-27T08:43:37Z |
|
| dc.date.available |
2018-03-27T08:43:37Z |
|
| dc.identifier |
Sanga, Imani. "Mzungu Kichaa and the Figuring of Identity in" Bongo Fleva" Music in Tanzania." International Review of the Aesthetics and Sociology of Music (2011): 189-208. |
|
| dc.identifier |
http://hdl.handle.net/123456789/922 |
|
| dc.identifier.uri |
http://hdl.handle.net/123456789/3234 |
|
| dc.description |
This article draws from Gilles
Deleuze and Felix Guattari's
notion of refrain and Louise
Meintjes' concept of music figure
and examines various ways a
Danish-born Bongo Fleva musi-
cian in Tanzania, Mzungu Kichaa
deploys music figures to con-
struct African and Tanzanian
identities. It also examines how
he uses these figures to negotiate
his position in relation to these
identities. To illustrate the perform-
ative effects of music figures on
people's identities the article
examines how the deployment of
musical figures serves a double
function: to claim one's Tanza-
nian or African identity and to
announce one's difference with
other identities (e.g. European or
English identities) at least with
regard to musical taste. As a
result, Mzungu Kichaa's attempts
to enter into the mainstream UK's
and Danish music industry were
not successful since the music
figures he used, the figures that
justified his identity as a Tanza-
nian or African, occupied margi-
nal spaces in European contexts. |
|
| dc.language |
sw |
|
| dc.subject |
Bongo Fleva |
|
| dc.subject |
Mzungu Kichaa |
|
| dc.subject |
music of Tanzania |
|
| dc.subject |
Hip Hop and Rap Music |
|
| dc.subject |
Popular Music and Identity |
|
| dc.subject |
Music Figures |
|
| dc.subject |
Deleuze and Guattari |
|
| dc.title |
Mzungu Kichaa and the Figuring of Identity in "Bongo Fleva" Music in Tanzania |
|
| dc.type |
Journal Article, Peer Reviewed |
|