Books by Marissa J Moorman
Transversos, 2019
Resumo: Este trabalho constitui um estudo do álbum Angola 74 de Bonga para analisar as relações s... more Resumo: Este trabalho constitui um estudo do álbum Angola 74 de Bonga para analisar as relações sobre Bomga e sua música. Bonga observou o cotidiano em Kipiri, onde nasceu, e a experiência do dia a dia nos musseques de Luanda e o impacto da música na região. Suas "raízes" e sua fonte (Pereira, 2018; Eduardo, 2012). Mas a música "Ghinawa" de Angola 74, em sons e história, sugere rotas e não raízes. Ao escutar atentamente, traço uma trajetória urbana transatlântica para o trabalho de Bonga. Palavras-chave: raízes, rotas, Bonga e música angolana Abstract: This paper listens to one piece of music from Bonga´s Angola 74 album to undo assumptions about the musician and his music. Bonga notes the impact of life in Kipiri, where he was born, and quotidian experience in Luanda's musseques on himself and his music. These are his "roots" and his source (Pereira, 2018; Eduardo, 2012). But the music "Ghinawa" from Angola 74, in it sounds and history, suggests routes not roots. Listening closely to it, I chart a transAtlantic , urban trajectory for Bonga's work.
Papers by Marissa J Moorman
Ohio University Press eBooks, Sep 2, 2016
Luanda is known for its late-night parties (or farras) that trail into the wee hours and include ... more Luanda is known for its late-night parties (or farras) that trail into the wee hours and include a bowl of muzongue (fish broth with pieces of cassava, fish, and chili peppers eaten in order to counteract the impending exhaustion and hangover). On November 11, 2001, the twenty-sixth anniversary of Angola's independence, I was invited to an event called Caldo de Dipanda (Independence Broth) that was to begin at 7 a.m. at the National Radio Station. It was a special independence day version of a bimonthly live broadcast event hosted by a Sunday morning radio show (Caldo de Poeira, or Dust Broth) where they invite musicians of the older generation to gather, play music together, eat, and reminisce. My fiance (now husband) and I and a friend, tambourine in hand, arrived half an hour after the scheduled beginning to find some 30 people already gathered. We were directed to a table and served typical Angolan dishes-beans with palm oil, muzongue, boiled cassava and sweet potato-and our choice of beverage. The emcee was already playing a variety of old tunes and inviting various musicians up to the stage to sing their golden oldies. Enthusiastic hugs and hellos abounded in the audience and people were obviously quite pleased to be together. Almost all the guests in attendance were musicians in their 50s or 60s and, with a few exceptions, they were all men. Younger women employees of the radio station were also present, but they were not guests-they served the food and danced with the band for particular songs. Earlier versions of this article benefited from discussion and comments from seminar participants in the Afrisem seminar at Northwestern University's Program in African Studies and the MacArthur Program at the University of Minnesota, and audience members at lectures I presented at the University of San Diego and at the Center for African Studies at UCLA. I am particularly grateful to David Schoenbrun and Bennetta Jules-Rosette. The outside reviewers for this journal provided assistance in tightening and clarifying my argument and in locating relevant historical sources. Finally, Jean Allman, Allen Isaacman, Hans Nesseth, Mary Thomas, and Bob W. White all read drafts at separate times and asked incisive questions that forced me to sharpen my argument. All of these folks who generously read, listened to, and critiqued this piece share the praise for its insights but none of the responsibility for its limitations, which are all mine. ' Lourdes Van Dunem, Olga Baltazar, Dina Santos, and Maria Mambo Caf6 are still alive and resident in Luanda. Lilly Tchiumba and Belita Palma are both deceased; Alba Clington is in poor health in Lisbon; and Mila Melo lives in Australia. Susan Geiger, a pioneer of African women's history, was one of my mentors at the University of Minnesota. She died in 2001. Scholars of Angola mention groups like the band Ngola Ritmos and the politico-cultural club Bota Fogo in passing. (I discuss them in some detail in my dissertation, '"Feel Angolan with the Music': A Social History of Music and the Nation, Luanda, Angola, 1945-75," Ph.D. thesis. University of Minnesota, 2004) They pay greater attention to the literary movement of the same period and its relationship to nationalism. See for example,
Africa Today, Mar 1, 2009
The book gives a background to the legacies that characterised Angolan society from pre-colonial ... more The book gives a background to the legacies that characterised Angolan society from pre-colonial period to the early years of post-independence.
The American Historical Review
info:eu-repo/semantics/publishedVersio
Cinema Journal, 2017
Remediation is a noted phenomenon in cinema studies. How it operates in African fi lms has been l... more Remediation is a noted phenomenon in cinema studies. How it operates in African fi lms has been less parsed. This article examines Abderrahmane Sissako's La vie sur Terre (1998) and Ousmane Sembène's Moolaadé (2004), two fi lms with distinct approaches to the remediation of radio. I argue that postcolonial African media contexts, where national cinemas struggle (Nollywood excepted) and radio thrives, compel us to read remediation's tensions as locally rendered and politically charged. As these media interact on fi lm they pose questions about visuality, sound, and broadcasting that fortify the fi lm narratives and challenge media ideologies of the continent. F or the past forty years, scholars have referred to African news media and other new forms of communication, like the mobile phone, as "Africa's drums." 1 Marshall McLuhan calls radio "the tribal drum" in Understanding Media. 2 Pressing electrifi ed media forms, whether analog or digital, into "traditional" molds for the imprimatur of African authenticity reveals what Ilana Gershon calls "media ideologies." 3 Media ideologies are ideas and beliefs about the mediated communicative channels available to producers and receivers of information. 4 Many people, both on and off the African continent, assume that radios, televisions, and fi lm cameras are "foreign" technologies. This is one kind of media ideology at work. Referring to radios or mobile phones as "drums" attempts to indigenize or adopt these strange technologies into a local genealogy, and constitutes a form of remediation. For Gershon remediation is a part of media ideologies: new media are always preceded by other forms. But remediation can also be a self-conscious
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Books by Marissa J Moorman
Papers by Marissa J Moorman