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