James A Winders
Biographic Data
| ID | 167682 |
|---|---|
| NAME | James A Winders |
| GIVEN NAMES | James A |
| FAMILY NAME | Winders |
| SIGNATURE | WINDERS J A |
| AFFILIATIONS | Appalachian State University |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 13 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1983 |
| LATEST PUBLICATION YEAR | 2006 |
| H-INDEX | 3 |
Anti-Immigrant Politics and Transformations of the Music Business, 1989–1996
Asked in 1997 to describe the most important differences between the early Mitterrand years (1981–1989) and the unfolding decade of the 1990s for the African music scene in Paris, Hélène Lee (1947–), long a music journalist for Libération as well as for other publications, was as blunt as possible. “It’s very, very simple,” she said forcefully: Under Mitterrand, we had money. There was money for the music and visas for the musicians. Now, there a…
High Expectations, Dashed Hopes
The years 1997–2002 brought new political developments and continued to be a time of diminished opportunities for African musicians trying to establish themselves in Paris. At the same time, the influence of African music continued to be felt, along with cuisine and fashion. Paris was truly an international city, and African cultures remained recognizable elements in the mix. Established music stars such as Manu Dibango, Ray Lema, or Papa Wemba s…
Paris, Dakar, and Bamako
During the late 1990s and the opening years of the new century, Paris continued to provide a base for many African musicians, and for many others it remained an important destination for recording and performing. Certainly it was no longer the center for African music (although arguably it was a major center for “world music” in the broadest sense of that phrase), instead sharing that role with London and New York. At the same time, through a com…
Paris Africain
The growth of African immigration to France at the end of the Twentieth Century wrought cultural change in this epicentre of the avant-garde in European art and music. James Winders presents the story
Mobility and Cultural Identity
Research Article| August 01 2006 Mobility and Cultural Identity: African Music and Musicians in Late-Twentieth-Century Paris James A. Winders James A. Winders Search for other works by this author on: This Site Google French Historical Studies (2006) 29 (3): 483–508. https://doi.org/10.1215/00161071-2006-008 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Ema…
Genre, gender, and the postmodern blues
African Musicians in Contemporary Paris
L'A. examine la situation des musiciens africains immigres (le courant musical Afropop) dans le Paris d'aujourd'hui comme expression de la culture africaine dispersee dans le monde et comme exemple de culture postcoloniale. Il s'interesse a la maniere dont ces musiciens envisagent leurs differences et leurs origines dans une optique resolument cosmopolite
Reggae, Rastafarians and Revolution
Reggae, Rastafarians and Revolution
Genre, gender, and the postmodern blues
Paris Africain
The growth of African immigration to France at the end of the Twentieth Century wrought cultural change in this epicentre of the avant-garde in European art and music. James Winders presents the story
Mobility and Cultural Identity
Research Article| August 01 2006 Mobility and Cultural Identity: African Music and Musicians in Late-Twentieth-Century Paris James A. Winders James A. Winders Search for other works by this author on: This Site Google French Historical Studies (2006) 29 (3): 483–508. https://doi.org/10.1215/00161071-2006-008 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Ema…
Reggae, Rastafarians and Revolution
African Musicians in Contemporary Paris
L'A. examine la situation des musiciens africains immigres (le courant musical Afropop) dans le Paris d'aujourd'hui comme expression de la culture africaine dispersee dans le monde et comme exemple de culture postcoloniale. Il s'interesse a la maniere dont ces musiciens envisagent leurs differences et leurs origines dans une optique resolument cosmopolite
Genre, gender, and the postmodern blues
Anti-Immigrant Politics and Transformations of the Music Business, 1989–1996
Asked in 1997 to describe the most important differences between the early Mitterrand years (1981–1989) and the unfolding decade of the 1990s for the African music scene in Paris, Hélène Lee (1947–), long a music journalist for Libération as well as for other publications, was as blunt as possible. “It’s very, very simple,” she said forcefully: Under Mitterrand, we had money. There was money for the music and visas for the musicians. Now, there a…
High Expectations, Dashed Hopes
The years 1997–2002 brought new political developments and continued to be a time of diminished opportunities for African musicians trying to establish themselves in Paris. At the same time, the influence of African music continued to be felt, along with cuisine and fashion. Paris was truly an international city, and African cultures remained recognizable elements in the mix. Established music stars such as Manu Dibango, Ray Lema, or Papa Wemba s…
Paris, Dakar, and Bamako
During the late 1990s and the opening years of the new century, Paris continued to provide a base for many African musicians, and for many others it remained an important destination for recording and performing. Certainly it was no longer the center for African music (although arguably it was a major center for “world music” in the broadest sense of that phrase), instead sharing that role with London and New York. At the same time, through a com…
Paris Africain
The growth of African immigration to France at the end of the Twentieth Century wrought cultural change in this epicentre of the avant-garde in European art and music. James Winders presents the story
Mobility and Cultural Identity
Research Article| August 01 2006 Mobility and Cultural Identity: African Music and Musicians in Late-Twentieth-Century Paris James A. Winders James A. Winders Search for other works by this author on: This Site Google French Historical Studies (2006) 29 (3): 483–508. https://doi.org/10.1215/00161071-2006-008 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Ema…
Art (7 works) · History (7 works) · African history and culture studies (5 works) · Sociology (5 works) · Art history (4 works) · Cultural Identity and Heritage (4 works) · Archaeology (3 works) · Ethnology (3 works) · Gender Studies (3 works) · History (3 works)