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Africa in StereoModernism, Music, and Pan-African Solidarity$
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Tsitsi Ella Jaji

Print publication date: 2014

Print ISBN-13: 9780199936373

Published to Oxford Scholarship Online: April 2014

DOI: 10.1093/acprof:oso/9780199936373.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 07 March 2021

Pirates Choice

Pirates Choice

Hacking into (Post-)Pan-African Futures

Chapter:
(p.193) 6 Pirates Choice
Source:
Africa in Stereo
Author(s):

Tsitsi Ella Jaji

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199936373.003.0006

The sixth chapter shows how new technologies have given rise to a set of practices that pirate, informalize and distribute the sonic archives of transnational black solidarity traced throughout the book, potentially opening participation in pan-African imaginaries to new subjects. Beginning by examining pirated audio technologies in two Senegalese films, Camp de Thiaroye (1987) and Ça Twiste àò Poponguine (1992), the chapter notes how nostalgic evocations of gramophone listening recall the heady political possibilities of earlier moments before moving to three more recent works. Music forges new publics in Akomfrah’s 1987 film, The Last Angel of History, which traces the “mothership connection” between Africa and experimental diasporic music. Ken Bugul’s 2005 novel Rue Félix-Faure relies on a blues soundtrack for an emerging transnational feminist solidarity. And the Heliocentrics’s internet radio project, the Pan-African Space Station, hacks into the future archive of solidarity as an exploration mission that has yet to dock.

Keywords:   piracy, Akomfrah, Bugul, Muyanga, Edjabe, Sembene, Sene Absa, internet radio

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