It is relevant here because we believe that the anomalous situation we find ourselves in is deliberately man-made for the reasons mentioned. In other words the "Black Consciousness" approach would be irrelevant in a colourless and non-exploitative egalitarian society. In doing so, I do not wish to appear to be unnecessarily concerning myself with the White people in this country, but I sincerely believe that in order to get to the right answer, we must ask the right questions we have to find out what went wrong where and when we have to find out whether our position is a deliberate creation by God or an artificial fabrication of the truth by power-hungry people whose motive is authority, security, wealth and comfort. It is perhaps fitting to start off by examining the real reasons which make it necessary for us to think collectively about a problem we never created. Remmy, ainsi que d'autres musiciens, entre dans le réseau Worldbeat non en tant qu'individu autonome, mais en tant que sujet postcolonial établi, désireux ainsi de façonner sa musique en accord avec les tendances de la musique Worldbeat. En nous concentrant sur son engagement dans les festivals Worldbeat, nous soutenons que Dr. Remmy dans ses chansons qui traitent de questions sociales et politiques.
Il montre également l'influence de la citoyenneté cosmopolite de Dr. Remmy est influencée par la conscience postcoloniale et les conditions de vie de la Tanzanie contemporaine.
Focusing on his involvement in worldbeat festivals, it argues that he, like other musicians, enters into the worldbeat system not as a fully autonomous individual but as a constituted postcolonial subject, compelled to shape his music in accordance with the demands of the worldbeat system.Résumé:Cet article a pour sujet Dr Remmy Ongala, un musicien congolais-tanzanien, et la musique cosmopolite postcoloniale à Dar es Salaam, en Tanzanie. Remmy's cosmopolitan citizenship in his songs that address political and social issues. Remmy's music is shaped by the postcolonial consciousness and conditions of contemporary Tanzania. Remmy Ongala, a Congolese-Tanzanian musician, and the making of postcolonial cosmopolitan music in Dar es Salaam, Tanzania.
By describing how female dùndún drumming may be regarded as a response to social and musical change, and discussing how issues of masculinity and femininity are constructed, negotiated and contested, I argue that the belief forbidding women from playing Yorùbá drums is not strictly applicable to the dùndún because the dùndún ensemble is more connected to social than religious performances. Biographical accounts and lived experiences of both artists suggest that women's agency in Yorùbá drumming is hedged by different, prevailing socioeconomic contexts, including a determination to challenge limitations to a career path and economic progress. Ethnographic techniques were used to generate data on Àrà and Àyánbìnrin, two well-known urban popular female dùndún performers whose aspirations and career trajectories reside outside the Àyàn lineage and spiritual tradition. Informed by the theory of spatial trialectics, this article investigates gendered space in relation to dùndún drumming with a view to understanding the changing nuances of gender relations among the Yorùbá of southwestern Nigeria. These movements are evident in many women's decisions to venture into drumming, an age-old male dominated musical profession. The contemporary Nigerian musical landscape occasionally becomes a site for contesting and negotiating the established ideology of Yorùbá patriarchy.
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