- Academic Services and Registrar - Research Publications
Academic Services and Registrar - Research Publications
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ItemMusic for a coup: "Armee Guineenne." An overview of Guinea's recent political turmoilCounsel, G (AFRICAN STUDIES ASSOC AUSTRALASIA & PACIFIC, 2010-12)
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ItemBurkina Faso musiques: Modern Voltaiques and Musiques modernes et traditionnelles du Mali, by Florent MazzoleniCounsel, G (African Studies Association of Australasia and the Pacific, 2011)
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ItemStirring the pot: A history of African cuisine, by Peter McCannCounsel, G (The African Studies Association of Australasia and the Pacific, 2011)
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ItemConserving the Archives of a National Broadcaster in AfricaCounsel, G ( 2012)
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ItemGuinea radio archives. Rescuing the reelsCounsel, G (Southern Rag Ltd., 2013)
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ItemDiplomacy paysCOUNSEL, G (Southern Rag Ltd., 2014)
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ItemCopyright Africa. How Intellectual Property, Media, and Markets Transform Immaterial Cultural GoodsCounsel, G (ANTHROPOS INST, 2017)
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ItemFela: Kalakuta Notes, 2nd editionCounsel, G (MUSIC LIBRARY ASSOC, 2017-03)
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ItemSex, drugs and female agency: Why Siramori Diabaté’s song 'Nanyuman' was such a success in Mali and GuineaCounsel, G ; Jansen, J ; Camara, B (Michigan State University Press, 2018-05)This article presents the lyrics of the song “Nanyuman” by Mali’s legendary female griot (bard) Siramori (Sira Mory) Diabaté (c. 1925–1989). It demonstrates how a female griot integrates into her songs topical moral discussions on the position of married women in the socialist-inspired nations of Guinea and Mali in the 1960s and 1970s. Through the voice of “Nanyuman,” the protagonist of the song, Siramori, comments in ways a male griot never could, discussing marriage, sex, men’s roles as husbands, motherhood, and even the use of stimulant drugs. This source publication shows that the remarkable rise of female griots in West Africa from the 1960s onwards can be explained by new topical debates on West African society, and not only by technological innovations and new aesthetic appreciations of female voices that have received scholarly attention. The performance of “Nanyuman” also reveals Siramori’s artistic and comedic talents as an entertainer, thus evidencing why she was elevated to the highest ranks of musicians in Mali.