Edited by Abiodun Salawu and Israel A. Fadipe
The first volume titled Indigenous African Popular Music: Prophets and Philosophers explores the nature, philosophies and genres of indigenous African popular music, focusing on how indigenous African popular music artistes are seen as prophets and philosophers, and how indigenous African popular music depicts the world. Indigenous African popular music has long been under-appreciated in communication scholarship. However, understanding the nature and philosophies of indigenous African popular music reveals an untapped diversity which can only be unraveled by knowledge of the myriad cultural backgrounds from which its genres originate. Indigenous African popular musicians have become repositories of indigenous cultural traditions and cosmologies. With a particular focus on scholarship from Nigeria, Zimbabwe and South Africa, this volume explores the work of these pioneering artists and their protégés who are resiliently sustaining, recreating and popularising indigenous popular music in their respective African communities, and at the same time propagating the communal views about African philosophies and the temporal and spiritual worlds in which they exist.
See the publisher's description of volume 1.
The second volume titled Indigenous African Popular Music: Social Crusades and the Future examines how African indigenous popular music is deployed in democracy, politics and for social crusades by African artists. Exploring the role of indigenous African popular music in environmental health communication and gender empowerment, it subsequently focuses on how the music portrays the African future, its use by African youths, and how it is affected by advanced broadcast technologies and the digital media. Indigenous African popular music has long been under-appreciated in communication scholarship. However, understanding the nature and philosophies of indigenous African popular music reveals an untapped diversity which can only be unraveled by the knowledge of myriad cultural backgrounds from which its genres originate. With a particular focus on scholarship from Nigeria, Zimbabwe and South Africa, this volume explores how, during the colonial period and post-independence dispensation, indigenous African music genres and their artists were mainstreamed in order to tackle emerging issues, to sensitise Africans about the affairs of their respective nations and to warn African leaders who have failed and are failing African citizenry about the plight of the people.
At the same time, indigenous African popular music genres have served as a beacon to the teeming African youths to express their dreams, frustrations about their environments and to represent themselves. This volume explores how, through the advent of new media technologies, indigenous African popular musicians have been working relentlessly for indigenous production, becoming champions of good governance, marginalised population, and repositories of indigenous cultural traditions and cosmologies.
See the publisher's description of Volume 2.
Abiodun Salawu is Professor of Journalism, Communication and Media Studies, and Director of Indigenous Language Media in Africa, at the North-West University, South Africa, and vice-chair of IAMCR's Journalism Research & Education section.
Israel A. Fadipe is postdoctorial fellow in Indigenous Language Media in Africa at the Faculty of Humanities, North-West University, South Africa.
The above text is from the publisher’s description of the books:
Title: Indigenous African Popular Music Volumes 1 and 2
Editors: Abiodun Salawu and Israel A. Fadipe
Published: 2022
Pages: Vol. 1, 401 - Vol. 2, 465
Publisher: Springer Nature/Palgrave Macmillan