Popular Music Censorship in Africa

Michael Drewett is based in the Department of Sociology, Rhodes University, South Africa. Martin Cloonan is based in the Department of Music at the University of Glasgow, Scotland

• Part 1 Censorship Issues; Chapter 1 Popular Music Censorship in Africa, MartinCloonan; Chapter 2 The Cultural Boycott against Apartheid South Africa, MichaelDrewett; Chapter 3 Vocal Killers, Silent Killers, DylanCraig, NomalangaMkhize; Chapter 4 Racist Hate Speech in South Africa’s Fragile Democracy, GaryBaines; Chapter 5 ZVAKWANA! – ENOUGH! Media Control and Unofficial Censorship of Music in Zimbabwe, DianeThram; Chapter 6 And the Beat Goes On? Message Music, Political Repression and the Power of Hip-Hop in Nigeria, WilsonAkpan; Part 2 Case Studies; Chapter 7 Traditional and Popular Music, Hegemonic Power and Censorship in Malawi:, Reuben M.Chirambo; Chapter 8 Why Don’t You Sing about the Leaves and the Dreams? Reflecting on Music Censorship in Apartheid South Africa, JohnnyClegg, MichaelDrewett; Chapter 9 Popular Music Censorship in Tanzania, Kelly M.Askew, John FrancisKitime; Chapter 10 Silencing Musical Expression in Colonial and Post-Colonial Kenya, PeterMuhoro Mwangi; Chapter 11 One Hundred Years of Censorship in Ghanaian Popular Music Performance, JohnCollins; Chapter 12 Where the Shoe Pinches, GraemeEwens; Chapter 13 For a Song – Censure in Algerian Rai Music, MalikaMehdid; Chapter 14 Concluding Comments on the Censorship of Popular Music in Africa, MartinCloonan, MichaelDrewett;

'Each contribution is a well-written, self-contained unit. Drewett [...] and Cloonan [...] are to be commended for selecting knowledgeable contributors for this book, which will interest student of African popular music in general and censorship in particular... Recommended.' Choice ’... this book is a groundbreaking and highly engaging text that will hopefully encourage additional and broader discussion of music censorship in Africa and around the world... While compiling a valuable resource for scholars and students, the editors also use the book to present a blatant call to arms to musicians and activists to resist oppression.’ Popular Music ’The strength of the book [...] is that it convincingly and with many fine case studies paves the way for more research on the important issue of music censorship. As such Popular Music Censorship in Africa will be of interest to both scholars and students.’ Ethnomusicology Forum