Title
Soweto Blues: Jazz, Popular Music, and Politics in South Africa,Used
Delivery time: 8-12 business days (International)
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 antiapartheid influence of Hugh Masekela and Miriam Makeba, as well as the postapartheid 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 selfexpression in the darkest of times.FROM THE INTRODUCTION"This book tells of the journeysin both directionsbetween village and city, between saxophone and cellphone, between Langa and Cape Town, between America and Africa that, over the past century, have created the unique sound dubbed 'South African Jazz'. The term itself is contentious. As in America, some politicallyaware South African players dislike the term for its social connotations. 'The term jazz was used to describe the music of brothels. It was simply another way of denigrating the creativity of African musicians,' says percussionist and composer Ndikho Xaba. And, as in the rest of the world, many musical explorers resent the constraints of an externally defined musical box.In South Africa, apartheid overlaid the word with other, more sinister connotations. In some critical and ethnomusicological contexts, the music was evaluated by the degree of its Americanness 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 rechristened Peter Evans, and trumpeter Johnny Mekoa became Johnny Keen."
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Shipping & Returns
Shipping
We ship your order within 2–3 business days for USA deliveries and 5–8 business days for international shipments. Once your package has been dispatched from our warehouse, you'll receive an email confirmation with a tracking number, allowing you to track the status of your delivery.
Returns
To facilitate a smooth return process, a Return Authorization (RA) Number is required for all returns. Returns without a valid RA number will be declined and may incur additional fees. You can request an RA number within 15 days of the original delivery date. For more details, please refer to our Return & Refund Policy page.
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Warranty
We provide a 2-year limited warranty, from the date of purchase for all our products.
If you believe you have received a defective product, or are experiencing any problems with your product, please contact us.
This warranty strictly does not cover damages that arose from negligence, misuse, wear and tear, or not in accordance with product instructions (dropping the product, etc.).
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