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In-depth coverage of popular percussion instruments, including history, tuning, maintenance, techniques, exercises, ensembles, and more, from a world-renowned educator and performer, Kalani. Each book comes with an enhanced CD featuring additional multimedia content, including demonstrations of all rhythms and techniques and tuning instructions.
With Mande Music, Eric Charry offers the most comprehensive source available on one of Africa's richest and most sophisticated music cultures. Using resources as disparate as early Arabic travel accounts, oral histories, and archival research as well as his own extensive studies in Mali, Guinea, Senegal, and the Gambia, Charry traces this music culture from its origins in the thirteenth-century Mali empire to the recording studios of Paris and New York. He focuses on the four major spheres of Mande music—hunter's music, music of the jelis or griots, jembe and other drumming, and guitar-based modern music—exploring how each evolved, the types of instruments used, the major artists, and how each sphere relates to the others. With its maps, illustrations, and musical transcriptions as well as an exhaustive bibliography, discography, and videography, this book is essential reading for those seeking an in-depth look at one of the most exciting, innovative, and deep-rooted phenomena on the world music scene. A compact disc is available separately.
A study of the carnival traditions that created "whole theater" folk pageants
The field of history is founded on the interrogation of written documents from the past. However, culture is the center of life in Africa. As a result, in the past – and to a degree in the present – the process for documenting events in Africa was not written, it was performed. History Dances: Chronicling the History of Traditional Mandinka Dance argues that a wealth of information is housed within traditional Mandinka dance and, consequently, the dances can be used as an African-derived primary source for writing African history. Ofosuwa M. Abiola highlights the overall value of studying Mandinka dance history specifically, and African dance history generally, as well as addressing the issue of scarcity with regard to primary sources for writing African history. History Dances proves to be a vital read for both undergraduate students and scholars in the fields of dance history, African history, performance studies, and cultural anthropology.
Short stories are usually defined in terms of characteristics of modernism, in which the story begins in the middle, develops according to a truncated plot, and ends with an epiphany. This approach tends to ignore postmodernism, a movement often characterized by a negation of objective reality where plots are seemingly abandoned, surfaces are extraordinary, and symbols turn inward on themselves. This book examines postmodern forms and characteristic themes by analyzing a group of short stories that make use of postmodern narrative strategies, including nonfictional fiction, gender profiling, and death as an image. The volume begins with a discussion of the blurred lines between fiction and nonfiction in the short story and imaginative personal essay. It then looks at the role of women in works by such authors as Sandra Cisneros, Leslie Marmon Silko, Joyce Carol Oates, and Lorrie Moore. This is followed by a section of chapters on postmodern masculinity and short fiction. The next section focuses on death as an image and theme in works by Richard Ford, Richard Brautigan, and James Joyce. The final set of chapters considers postmodern short fiction from South Africa and Canada.
“Studies of four musicians . . . and a broader discussion about diaspora and migration provides an important study of African music in the United States.” —Alex Perullo, author of Live from Dar es Salaam Daniel B. Reed integrates individual stories with the study of performance to understand the forces of diaspora and mobility in the lives of musicians, dancers, and mask performers originally from Côte d’Ivoire who now live in the United States. Through the lives of four Ivorian performers, Reed finds that dance and music, being transportable media, serve as effective ways to understand individual migrants in the world today. As members of an immigrant community who are geographically dispersed, these performers are unmoored from their place of origin and yet deeply engaged in presenting their symbolic roots to North American audiences. By looking at performance, Reed shows how translocation has led to transformations on stage, but he is also sensitive to how performance acts as a way to reinforce and maintain community. Abidjan USA provides a multifaceted view of community that is at once local, national, and international, and where identity is central, but transportable, fluid, and adaptable. “Daniel B. Reed’s scholarship is solid and his writing style is thoroughly engaging. The topic is novel; there are fascinating twists and turns throughout.” —Eric Charry, editor of Hip Hop Africa “This study’s attention to the intersection of lived experiences with wider historical events and social formations, as well as the author’s careful analysis of Ivorian ballet and the dances and drum rhythms that constitute the genre, make Abidjan USA an important intervention in ethnomusicology and folklore.” —Journal of American Folklore
Erendira, the protagonist of this heart-rending tale of exploitation and the imagination of freedom is symbolic of the under-aged trafficking networks and its resilient survivors across India. In Taboo, metred into rhythm in her inimitable style, Nirmala plunges into the context of disturbing crime, trafficking and unfreedom. Flying high in the Himalayan ranges, weaving a trail through Coimbatore, Ooty, Chandigarh, Khandala and the shipping town of Alang, diving down to the southern-most tip of India and onwards to Sri Lanka, Erendira, through many languages and cultures unearths the forbidden identity of a sex worker on a footpath. Finally, you emerge questioning the intent of our society and political organizations to stop this and the utter disregard for such questions in our democracy.
The rhythms and dances of Guinea, West Africa spring to life in this ground-breaking multimedia collection from award-winning author Kalani and noted world percussionist Ryan M. Camara! More than just a drumming book, this easy-to-use method immerses teachers and students in traditional West African music, dance and culture through a step-by-step curriculum that maintains cultural authenticity. The World Rhythms! Arts Program (WRAP) is a multiple-discipline curriculum that incorporates drumming, singing, dance, and culture. Rooted in traditional West African music and dance, WRAP helps develop essential arts and life skills through a holistic approach to music and movement education. A must for your classroom!
Inside Out (July and August 2011,2012), Showtime (August/ September 2012), Va'Lasca (August/ September 2012), Linespeed (September, October, Novemember 2012), Skyridge (October, November 2012), Horizons (November, December 2012), Anenemy (December 2012, January 2013), Double Play (March, April, May 2013)