African popular music (also styled Afropop, Afro-pop, Afro pop or African pop),[1] like African traditional music, is vast and varied.[1] Most contemporary genres of African popular music build on cross-pollination with Western popular music. Many genres of popular music like blues, jazz, salsa, zouk, and rumba derive to varying degrees on musical traditions from Africa, taken to the Americas by enslaved Africans. These rhythms and sounds have subsequently been adapted by newer genres like rock, and rhythm and blues. Likewise, African popular music has adopted elements, particularly the musical instruments and recording studio techniques of the Western music industry. The term does not refer to a specific style or sound but is used as a general term for African popular music.[2][3][4]
Cuban music has been popular in Sub-Saharan Africa since the mid-twentieth century. It was Cuban music, more than any other, that provided the initial template for Afropop. To the Africans, clave-based Cuban popular music sounded both familiar and exotic.[5] The Encyclopedia of Africa v. 1. states:
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"Beginning in the 1940s, Afro-Cuban [son] groups such as Septeto Habanero and Trio Matamoros gained widespread popularity in the Congo region as a result of airplay over Radio Congo Belge, a powerful radio station based in Lopoldville (now Kinshasa DRC). A proliferation of music clubs, recording studios, and concert appearances of Cuban bands in Lopoldville spurred on the Cuban music trend during the late 1940s and 1950s."[6]
Congolese bands started doing Cuban covers and singing the lyrics phonetically. Soon, they were creating their own original Cuban-like compositions, with French lyrics. The Congolese called this new music rumba, although it was really based on the son.[clarification needed] The Africans adapted guajeos to electric guitars, and gave them their own regional flavor. The guitar-based music gradually spread out from the Congo, increasingly taking on local sensibilities. This process eventually resulted in the establishment of several different distinct regional genres, such as soukous.[7]
The re-working of the harmonic patterns reveals a striking difference in perception. The I, IV, V, IV, harmonic progression, commonly used in Cuban music, is heard in pop music all across the African continent, thanks to the influence of Cuban music. Those chords move in accordance with the basic tenets of Western music theory. However, as Gerhard Kubik points out, performers of African popular music do not necessarily perceive these progressions in the same way: "The harmonic cycle of C-F-G-F [I-IV-V-IV] prominent in Congo/Zaire popular music simply cannot be defined as a progression from tonic to subdominant to dominant and back to subdominant (on which it ends) because in the performer's appreciation they are of equal status, and not in any hierarchical order as in Western music."[9]
The largest wave of Cuban-based music to hit Africa was in the form of salsa. In 1974 the Fania All Stars performed in Zaire (known today as the Democratic Republic of the Congo), Africa, at the 80,000-seat Stadu du Hai in Kinshasa. This was captured on film and released as Live In Africa (Salsa Madness in the UK). The Zairean appearance occurred at a music festival held in conjunction with the Muhammad Ali/George Foreman heavyweight title fight. Local genres were already well established by this time. Even so, salsa caught on in many African countries, especially in the Senegambia and Mali. Cuban music had been the favorite of Senegal's nightspot in the 1950s to 1960s.[11] The Senegalese band Orchestra Baobab plays in a basic salsa style with congas and timbales, but with the addition of Wolof and Mandinka instruments and lyrics.
According to Lise Waxer: "African salsa points not so much to a return of salsa to African soil (Steward 1999: 157) but to a complex process of cultural appropriation between two regions of the so-called Third World."[12] Since the mid-1990s African artists have also been very active through the super-group Africando, where African and New York musicians mix with leading African singers such as Bambino Diabate, Ricardo Lemvo, Ismael Lo and Salif Keita. It is still common today for an African artist to record a salsa tune, and add their own particular regional touch to it.
Detroit's rich history of African American culture and its status as the birthplace of Motown and techno make it the perfect location for Afro Nation Detroit 2024. The festival offers an opportunity to celebrate the resilience and enduring legacy and to connect with Detroit's vibrant music and artistic communities.
The Douglass site is a historically significant housing project in Detroit that was the first federally funded housing project for African Americans in the United States. It was home to icons such as Diana Ross, Smokey Robinson, and other influential African Americans.
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When enslaved African populations were brought to work in coastal agricultural areas of Peru during colonial times, they brought along their musical traditions. In Peru, those traditions mixed with Spanish popular music of the nineteenth century, eventually growing into what is commonly known as Afro-Peruvian music. The Marinera, festejo, land, tondero, zamacueca, and contrapunto de zapateo musical genres, among others, involve rich dance and ritual traditions.
The atajo de negritos and yunsa dance forms are traditional Afro-Peruvian expressions from the southcentral coastal department of Ica. This predominantly rural area harbors one of the largest concentrations of Afro-Peruvians in the country. These dances are cultural manifestations of their locally developed identity, memory, and musical and ritual knowledge.
Every year during Christmas, troupes of atajo de negritos dancers parade down the streets of the coastal town of El Carmen, tap dancing and singing from house to house, praising baby Jesus. Through dress and song, they reference agricultural labor and the era of slavery, events that form an important part of their collective memory.
From the rhythmic beats of Afrobeat and the soulful melodies of Afro-soul to the infectious grooves of Kuduro and the fiery passion of Salsa and Reggae, Afro music is a diverse and vibrant musical tradition that has captivated listeners around the world.
Afrobeat is a popular African music genre that originated in Nigeria in the 1960s and has since spread throughout the continent and the world. It is characterized by its fast tempo, typically around 120-140 beats per minute (BPM), and its incorporation of elements from traditional African music, such as highlife, jazz, funk, and percussion.
Kuduro is a fast-paced dance music genre that originated in Angola in the 1980s and has since gained popularity in other Portuguese-speaking countries such as Mozambique and Portugal. It typically ranges in tempo from 130-150 BPM and is characterized by its heavy use of electronic instruments and electronic dance music (EDM) production techniques.
Highlife is a popular music genre that originated in West Africa in the early 20th century and has since spread throughout the continent. It is characterized by its upbeat tempo, typically around 120-140 BPM, and its incorporation of elements from traditional African music, such as percussion and brass instruments.
Soukous is a popular dance music genre that originated in the Democratic Republic of Congo in the 1960s and has since spread throughout Africa and the diaspora. It is characterized by its fast tempo, typically around 130-150 BPM, and its incorporation of elements from traditional African music, such as percussion and guitar.
Gqom is a South African music genre that originated in the early 2000s and has gained popularity throughout the continent. It is characterized by its fast tempo, typically around 130-150 BPM, and its use of electronic production techniques and percussion.
Azonto is a fast-paced dance music genre that originated in Ghana in the late 2000s and has since gained popularity throughout West Africa. It typically ranges in tempo from 130-150 BPM and is characterized by its heavy use of electronic instruments and EDM production techniques.
Afrobeats is a genre of popular music that originated in Nigeria in the late 1960s and has since spread throughout West Africa and beyond. It is characterized by its upbeat rhythms, catchy melodies, and Afrocentric lyrics, often sung in local languages. Afrobeats is often associated with the dance party culture in Nigeria, and its music videos are known for their colorful, high-energy visuals and choreography. Afrobeats has gained widespread popularity in recent years, thanks in part to the success of artists like WizKid, Davido, and Burna Boy, who have brought the genre to a global audience through their collaborations with mainstream artists and tours around the world. Afrobeats has also been described as a fusion of various African and global musical styles, including highlife, fuji, hip hop, and electronic dance music.
Makossa is a popular dance music genre from Cameroon that originated in the 1970s. It is characterized by its upbeat rhythms, catchy melodies, and playful, humorous lyrics, often sung in the Duala language. Makossa has roots in traditional Cameroonian music, but it also incorporates elements of other African and global musical styles, including soukous, highlife, funk, and rumba. Makossa gained widespread popularity in Cameroon and throughout West Africa in the 1970s and 1980s, thanks in part to the success of artists like Manu Dibango, who blended makossa with other musical styles and brought it to a global audience through his tours and recordings. Today, makossa continues to be a popular genre in Cameroon and other parts of Africa, and it is enjoyed by listeners of all ages. 152ee80cbc
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