[1]
Adejunmobi, M. 1968. Charting Nollywood’s appeal locally and globally. African literature today. (1968), 106–121.
[2]
Adichie, C.N. 2009. The thing around your neck. Fourth Estate.
[3]
Adichie, C.N. 2009. The thing around your neck. Fourth Estate.
[4]
Africa’s looted cultural and religious artefacts need to be returned [The Benin Kingdom] - How Africa News: http://howafrica.com/africas-looted-cultural-and-religious-artefacts-need-to-be-returned-the-benin-kingdom/.
[5]
Agawu, V.K. 1995. African rhythm: a Northern Ewe perspective. Cambridge University Press.
[6]
Agawu, V.K. 2016. The African imagination in music. Oxford University Press.
[7]
Agawu, V.K. 2016. The African imagination in music. Oxford University Press.
[8]
Amkpa, A. and SenGupta, G. 2010. History in Ousmane Sembene’s Guelwaar and Ceddo. Nka Journal of Contemporary African Art. 2010, 27 (Sep. 2010), 14–21. DOI:https://doi.org/10.1215/10757163-2010-27-14.
[9]
Appiah, K.A. 2006. Whose Culture is it, Anyway? Cosmopolitanism: ethics in a world of strangers. W.W. Norton & Co.
[10]
Arom, S. et al. 1991. African polyphony and polyrhythm: musical structure and methodology. Cambridge University Press.
[11]
Asante, Kariamu Welsh 1985. The Jerusarema Dance of Zimbabwe. Journal of Black Studies. 15, 4 (1985), 381–403.
[12]
Asante, Molefi ; Appiah, Michael 1979. The Rhetoric of the Akan Drum. The Western Journal of Black Studies. 3, 1 (1979).
[13]
Baderoon, Gabeba 2011. ‘Gender within gender’: Zanele Muholi’s images of trans being and becoming. Feminist Studies. 37, 2 (2011), 390–416.
[14]
Bissonauth, N. 2014. Zanele Muholi’s Affective Appeal to Act. Photography and Culture. 7, 3 (Nov. 2014), 239–251. DOI:https://doi.org/10.2752/175145214X14153800234801.
[15]
Byerly, I.B. 1998. Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa. Ethnomusicology. 42, 1 (Winter 1998). DOI:https://doi.org/10.2307/852825.
[16]
Charry, E.S. 2012. Hip hop Africa: new African music in a globalizing world. Indiana University Press.
[17]
Charry, E.S. 2012. Hip hop Africa: new African music in a globalizing world. Indiana University Press.
[18]
Charry, E.S. 2000. Mande music: traditional and modern music of the Maninka and Mandinka of Western Africa. University of Chicago Press.
[19]
Cho, G. 2010. Hiplife, Cultural Agency and the Youth Counter-Public in the Ghanaian Public Sphere. Journal of Asian and African Studies. 45, 4 (Aug. 2010), 406–423. DOI:https://doi.org/10.1177/0021909610373888.
[20]
Corley, Í. 2016. An Interview with Zanele Muholi. Wasafiri. 31, 1 (Jan. 2016), 22–29. DOI:https://doi.org/10.1080/02690055.2016.1112570.
[21]
Diawara, M. 1992. African Cinema: politics and culture. Indiana U.P.
[22]
Diawara, M. and Haus der Kulturen der Welt 2010. African film: new forms of aesthetics and politics. Prestel.
[23]
Doh, E.F. 2009. Stereotyping Africa: surprising answers to surprising questions. Langaa Research & Publishing CIG.
[24]
Downey, A. 2004. Yinka Shonibare in conversation. Wasafiri. 19, 41 (Mar. 2004), 31–36. DOI:https://doi.org/10.1080/02690050408589884.
[25]
Drewal, M.T. and Drewal, H.J. 1975. Gelede Dance of the Western Yoruba. African Arts. 8, 2 (Winter 1975). DOI:https://doi.org/10.2307/3334829.
[26]
Drewett, M. 2008. Developing a retro brand community: Re‐releasing and marketing anti‐apartheid protest music in post‐apartheid South Africa. Consumption Markets & Culture. 11, 4 (Dec. 2008), 287–305. DOI:https://doi.org/10.1080/10253860802391292.
[27]
Durán, Lucy 2013. Poyi! Bamana Jeli Music, Mali and the Blues. Journal of African Cultural Studies. 25, 2 (2013), 211–246.
[28]
Enwezor, O. and Okeke-Agulu, C. 2009. Contemporary African art since 1980. Damiani.
[29]
Euba, A. 1990. Yoruba drumming: the Dùndún tradition. Eckhard Breitinger.
[30]
Farah, N. and Willis, M. 2016. Crossbones. Audible Studios on Brilliance.
[31]
Finnegan, R. 1977. Oral Literature in Africa. Oxford University Press Tanzania Ltd.
[32]
From highlife to hiplife - a guide to Ghanaian music: https://www.timeout.com/accra/music/from-highlife-to-hiplife-a-guide-to-ghanaian-music.
[33]
Garritano, Carmela 2013. African Video Movies and Global Desires: A Ghanaian History. (2013).
[34]
Gore, Charles 2015. African Photography. African Arts. 48, 3 (2015).
[35]
Hobsbawm, E. 1983. Introduction: Inventing Traditions. The invention of tradition. Cambridge University Press. 1–14.
[36]
How to Write about Africa | Binyavanga Wainaina | Granta Magazine: https://granta.com/how-to-write-about-africa/.
[37]
J., C. 2002. The Generational Factor in Ghanaian Music: Concert parties, highlife, simpa, kpanlogo, gospel and local techno-pop. Playing with identities in contemporary music in Africa. Nordiska Afrikainstitutet. 60–74.
[38]
Jones, E.D. et al. 1989. Oral and Written Poetry in African Literature Today. James Currey.
[39]
Kasfir, S.L. 1992. African Art and Authenticity: A Text with a Shadow. African Arts. 25, 2 (Apr. 1992). DOI:https://doi.org/10.2307/3337059.
[40]
Keller, Candace 2014. Framed and hidden histories: West African photography from local to global contexts. African Arts. 47, 4 (2014), 36–47.
[41]
Klein, D.L. 2007. The Making of a Yorùbá Culture Movement. Yorubá bàtá goes global: artists, culture brokers, and fans. University of Chicago Press. 1–26.
[42]
Krings, M. and Okome, O. 2013. Nollywood and its Diaspora: An Introduction. Global Nollywood: the transnational dimensions of an African video film industry. Indiana University Press. 1–24.
[43]
Lamunière, M. 2001. You look beautiful like that: the portrait photographs of Seydou Keïta and Malick Sidibé. Yale University Press.
[44]
Lamuniere, Michelle ; Sidibe, Malick ; Brozga, Lia 2001. Ready to Wear: A conversation with Malick Sidibe. Ready to Wear: A conversation with Malick Sidibe. 10, 4 (2001), 132–159.
[45]
MAGOMBE, P VINCENT The Cinemas of Sub-Saharan Africa.
[46]
Mapanje, J. and White, L. 1983. Oral Poetry from Africa: An Anthology. Pearson Education Limited.
[47]
Matebeni, Z. 2013. INTIMACY, QUEERNESS, RACE. Cultural Studies. 27, 3 (May 2013), 404–417. DOI:https://doi.org/10.1080/09502386.2013.769151.
[48]
McCluskey, A.T. 2009. The devil you dance with: film culture in the new South Africa. University of Illinois Press.
[49]
McCluskey, A.T. and McCluskey, A.T. 2009. The devil you dance with: film culture in the new South Africa. University of Illinois Press.
[50]
Muholi, Z. 2010. Faces and phases. Prestel.
[51]
Muller, C.A. 2004. South African music: a century of traditions in transformation. ABC-Clio.
[52]
Nicol, M. 2017. Agents of the State. Old Street Publishing.
[53]
Nketia, K. 1975. The Musical Traditions of Africa. The music of Africa. Victor Gollancz. 1–20.
[54]
Ntarangwi, M. 2009. East African hip hop: youth culture and globalization. University of Illinois Press.
[55]
Oguibe, O. 1999. Finding a Place: Nigerian Artists in the Contemporary Art World. Art Journal. 58, 2 (Jun. 1999), 30–41. DOI:https://doi.org/10.1080/00043249.1999.10791937.
[56]
Oguibe, Olu 1995. Art, Identity, Boundaries: The Rome Lecture. Art, Identity, Boundaries: The Rome Lecture. 26–33.
[57]
Okome, O. 2012. Nollywood, Lagos, and the Good-Time Woman. Nollywood, Lagos, and the Good-Time Woman. 43, 4 (2012), 166–186.
[58]
Okpewho, I. 1992. African oral literature: backgrounds, character, and continuity. Indiana University Press.
[59]
Olwage, G. 2008. Composing apartheid: music for and against apartheid. Wits University Press.
[60]
Omojola, B. 2012. Yorùbá Drumming: Performance Practice and the Politics of Identity. Yorùbá music in the twentieth century: identity, agency, and performance practice. Boydell & Brewer. 16–45.
[61]
Osman, D. and Osman, D. 2012. Fairytales for Lost Children. Team Angelica Publishing.
[62]
Osumare, H. 2012. The hiplife in Ghana: the West African indigenization of hip-hop. Palgrave Macmillan.
[63]
Osumare, H. 2012. The Hiplife in Ghana: West African Indigenization of Hip-Hop. Palgrave Macmillan US.
[64]
Pype, K. 2006. Dancing for God or the Devil: Pentecostal Discourse on Popular Dance in Kinshasa. Journal of Religion in Africa. 36, 3 (Nov. 2006), 296–318. DOI:https://doi.org/10.1163/157006606778941968.
[65]
Schumann, A. 2008. The Beat That Beat Apartheid: The Role of Music in the Resistance against Apartheid in South Africa. Stichproben. WienerZeitschrift für kritische Afrikastudien. 14, 8 (2008), 17–39.
[66]
Sembène, O. and Sembène, O. 200AD. Xala. Médiathèque des Trois Mondes.
[67]
Shipley, J.W. 2013. Living the hiplife: celebrity and entrepreneurship in Ghanaian popular music. Duke University Press.
[68]
Shipley, J.W. 2013. Transnational circulation and digital fatigue in Ghana’s Azonto dance craze. American Ethnologist. 40, 2 (May 2013), 362–381. DOI:https://doi.org/10.1111/amet.12027.
[69]
Shipley, J.W. and ProQuest (Firm) 2013. Living the hiplife: celebrity and entrepreneurship in Ghanaian popular music. Duke University Press.
[70]
Shire, W. 2011. Teaching My Mother How to Give Birth. Flipped Eye Publishing Limited.
[71]
Shule, Vicensia 2011. Tanzanian Films: Between Innovation & Incompetence. Tanzanian Films: Between Innovation & Incompetence. 39–49.
[72]
Sissay, L. 2017. Something dark. Oberon Books.
[73]
Sissay, L. 2017. Something dark. Oberon Books.
[74]
Thompson, K.D. 2008. Keeping it real: reality and representation in Maasai Hip-Hop. Journal of African Cultural Studies. 20, 1 (Jun. 2008), 33–44. DOI:https://doi.org/10.1080/13696810802159248.
[75]
Tolu Ogunlesi, We are all Africans; African Writing Online [many literatures, one voice]; Issue No. 8; http://www.african-writing.com/eight/toluogunlesi.htm.
[76]
University of Birmingham. Centre of West African Studies 1995. The pressures of the text: orality, texts, and the telling of tales. Centre of West African Studies, University of Birmingham.
[77]
van Der Vlies, Andrew 2012. Queer knowledge and the politics of the gaze in contemporary South African photography: Zanele Muholi and others. Journal of African Cultural Studies. 24, 2 (2012).
[78]
Vansina, J. 1984. Art history in Africa: an introduction to method. Longman.
[79]
Vansina, J. and Vansina, C. 2013. Art history in Africa: an introduction to method. Routledge.
[80]
WATSON, SASHA 2011. Talking About Writing About Africa. Publishers Weekly. 258, 30 (2011), 24–24.
[81]
WATSON, SASHA ; Talking About Writing About Africa.
[82]
Weiss, B. 2009. Street dreams and hip hop barbershops: global fantasy in urban Tanzania. Indiana University Press.
[83]
Why Is My Curriculum White? Birmingham Launch | Redbrick | University of Birmingham: http://www.redbrick.me/comment/why-is-my-curriculum-white-birmingham/.
[84]
Zanele Muholi’s Faces & Phases - Aperture Foundation NY: http://aperture.org/blog/magazine-zanele-muholis-faces-%C2%9D-phases/.
[85]
7AD. A Trip to Jamaica.
[86]
2009. Aesthetic of the Entrepreneur: Afro-Cosmopolitan Rap and Moral Circulation in Accra, Ghana. Anthropological Quarterly. 82, 3 (2009), 631–668. DOI:https://doi.org/10.1353/anq.0.0074.
[87]
2015. Agogo Eewo - Tunde Kelani.
[88]
10AD. Brikama Griots.
[89]
Highlife Classic Old School - Ghana - YouTube.
[90]
Introduction: Everything Good is Raining: Provisional Notes on the Nigerian Novel of the Third Generation.
[91]
Introduction: Everything Good is Raining: Provisional Notes on the Nigerian Novel of the Third Generation.
[92]
29AD. Jenifa.
[93]
29AD. LIVING IN BONDAGE.
[94]
20AD. Malick Sidibé | Icontent | Douglas Sloan Director.
[95]
2013. Nkosi Sikelel’ iAfrika (south african national anthem, with lyrics) - Inno nazionale sudafricano.
[96]
Old School Ghana Hiplife hits mix - YouTube.
[97]
16AD. Osuofia in London (trailer).
[98]
2015. Taxi Driver (Oko Ashewo).
[99]
9AD. Umoja - Meadowlands.
[100]
Xala (1975). FilmFour.
[101]
2010. Yoruba Dundun Talking Drum Ensemble.
[102]
1973. Zimbabwe: the soul of mbira : traditions of the Shona people of Zimbabwe. Nonesuch.
[103]
2007. Zimbabwean mbira music on an international stage [electronic resource] : Chartwell Dutiro’s life in music.