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Soweto Blues
Hardcover
JazzSocial MovementsWorld Music
ISBN13: 9780826416629
Publisher: Continnuum-3PL
Published: Sep 28 2004
Pages: 360
Weight: 1.47
Height: 1.26 Width: 6.40 Depth: 9.22
Language: English
A major new contribution to the study of African music, Soweto Blues tells the remarkable story of how jazz became a key part of South Africa's struggles in the 20th Century, and provides a fascinating overview of the ongoing links between African and American styles of music. Ansell illustrates how jazz occupies a unique place in South African music. Through interviews with hundreds of musicians, she pieces together a vibrant narrative history, bringing to life the early politics of resistance, the atmosphere of illegal performance spaces, the global anti-apartheid influence of Hugh Masekela and Miriam Makeba, as well as the post-apartheid upheavals in the national broadcasting and recording industries. Featuring an introduction by Abdullah Ibrahim, Soweto Blues is a fitting tribute to the power of music to inspire optimism and self-expression in the darkest of times.
FROM THE INTRODUCTIONIn South Africa, apartheid overlaid the word with other, more sinister connotations. In some critical and ethno-musicological contexts, the music was evaluated by the degree of its American-ness and denigrated as impure when it employed African idioms in composition or playing. Also under apartheid, the white authorities found it unacceptable that black musicians should be acknowledged as capable of playing such 'sophisticated' music. And so symbolic annihilation became part of the hegemonic staging and broadcasting of jazz. Playing behind a screen at Cape Town City Hall while a white musician mimed his notes, reedman Winston Mankunku Ngozi was billed as Winston Mann. In radio broadcasts, pianist Tony Schilder heard himself re-christened Peter Evans, and trumpeter Johnny Mekoa became Johnny Keen.
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