By Matthias Krings
Why might a Hollywood movie turn into a Nigerian video remake, a Tanzanian comedian ebook, or a Congolese tune video? Matthias Krings explores the myriad methods Africans reply to the relentless onslaught of worldwide tradition. He seeks out areas the place they've got tailored pervasive cultural kinds to their very own reasons as photograph novels, comedian books, songs, posters, or even rip-off letters. those African appropriations show the vast scope of cultural mediation that's attribute of our hyperlinked age. Krings argues that there's now not an "original" or "faithful copy," yet simply never-ending variations that thrive within the fertile floor of African renowned culture.
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Extra resources for African Appropriations: Cultural Difference, Mimesis, and Media
We are killing. People say it’s Allah—Allah is killing. People say it’s us! Ocho! When they had finished, the two mediums were led outside the circle and got dressed. When they came back, one of them was wearing a red uniform, the other a green one with red applications; both men also wore sashes across their chests, as well as berets and heavy boots. While one of them used his whip and Thunderer whistle to push back the audience and rearrange the dance floor, the other greeted the dignitaries among the audience with military salutes and handshakes.
Suffice[d] to restore the calm” (in Olivier de Sardan 1993: 172; my translation). Perhaps the French officers experienced the unsettling moment referred to by Michael Taussig (1993), when the boundaries between self and other collapse and “the self enters into the alter against which the self is defined and sustained” (273). On top of this psychologically disquieting experience, French officials soon began to sense a political motive behind the activities of Shibo and her followers. Thus, the “movement” was banned in 1927, demonstrating that the colonial administration took the potential threat to colonial order quite seriously.
It is frequently evoked in studies about authorship, copyright, i n t roduction 17 and intellectual property (Boon 2010; Coombe 1998), and also features prominently in debates about the restitution and protection of “cultural property” (Coombe 2009; Noyes 2010). ” Ziff and Rao further explain that appropriation is primarily regarded as an act of taking “from a subordinate into a dominant culture,” and while they acknowledge that the “subordinate” may also appropriate, they view this as a “complementary opposite” and call it “cultural assimilation” (5).
African Appropriations: Cultural Difference, Mimesis, and Media by Matthias Krings