Lara Allen
Biographic Data
| ID | 3656787 |
|---|---|
| NAME | Lara Allen |
| GIVEN NAMES | Lara |
| FAMILY NAME | Allen |
| SIGNATURE | ALLEN L |
| AFFILIATIONS | University of the Witwatersrand |
| ORCID | 0000-0003-0492-5986 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 37 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1996 |
| LATEST PUBLICATION YEAR | 2012 |
| H-INDEX | 3 |
Deepening students' understanding of democratic citizenship through arts-based approaches to experiential service learning
Inspired by models of community engagement initiated in North-American universities, the Visual Arts Department of the University of Johannesburg (UJ), together with the community-based organisation Tshulu Trust, developed an experimental service learning course aimed at evolving an approach to community engagement appropriate to the South African context. This article assesses the first iteration of this visual arts-based service learning interv…
From Rights to Responsibilities
The ethnographic endeavour is often riven by a tension between two claims to the 'right' to research asserted either on the basis of identity claims or professional expertise. A closely associated debate within the academy is characterised by an oscillation between concern about uneven power relations and the desire to maintain effective research practice. Attempting to address the absence of voices of 'subjects' in this debate, I discuss the iss…
Music, film and gangsters in the Sophiatown imaginary
Theorizing the relationships between politics and the cultural topography of Johannesburg's townships during the 1950s, this article critiques the commonplace interpretation of the period's blackurban culture as lIgintentionall/Ig resistance against apartheid. It is proposed that a more complex interpretative model may be derived by reading the significance of such iconic figures as star women musicians and elite gangsters in relation to three fu…
Music and Politics in Africa
Kwaitoversus Crossed-over
Negotiating Conflict through Music
Tingoma is a three-day ritual conducted by Tsonga people to facilitate communication between the living and their Ancestor spirits, and to ensure that there is no disharmony between the beings in these two realms. Using a tingoma conducted for Eunice Maluleke as a case study, we argue that this ritual not only negotiates tension within an individual (body and spirit), and between an individual and his or her Ancestor spirits, but also functions a…
Sound of Africa! Making Music Zulu in a South African Studio
Commerce, Politics, and Musical Hybridity
L'A. examine plusieurs aspects de la popularite du vocal jive, un style vocal noir qui trouve son origine dans les townships de l'Afrique du Sud des annees 1950. S'interrogeant sur sa signification pour les auditeurs des townships et les raisons de son succes commercial, il met en relation trois facteurs : l'hybridite musicale, la politique, et le commerce. Jusqu'a quel point la nature hybride du vocal jive a-t-elle contribue a son succes commerc…
Drumbeats, pennywhistles and all that jazz
In the forties, a pennywhistle was considered to be a child's toy: what small boys played because they could not afford 'real' instruments. What the quote I have just given illustrates particularly well is that from the sixties onwards, the pennywhistle and kwela music, the style which evolved around this instrument, had come to symbolise a whole era of South Africaâ€TMs history. I would like to explain this extraordinary metamorphosis of meaning…
Recordings
An archive of black South African popular music: recently released reissues Cold Castle National Festival: Maroka‐Jabavu Jazz 1962. Various artists. Teal Records, TELCD 2302; 1991. From marabi to disco: 42 years of township music. Compilation, Gallo Music, CDZAC 61; 1994. Hamba Notsokolo and other original hits from the 50's. Dorothy Masuka, Gallo Music, CDZAC 60, ‐. Jazz Epistle Verse 1. Jazz Epistles, Gallo Music, 66892–2, ‐. Jazz fantasia. Gid…
Music and Politics in Africa
Commerce, Politics, and Musical Hybridity
L'A. examine plusieurs aspects de la popularite du vocal jive, un style vocal noir qui trouve son origine dans les townships de l'Afrique du Sud des annees 1950. S'interrogeant sur sa signification pour les auditeurs des townships et les raisons de son succes commercial, il met en relation trois facteurs : l'hybridite musicale, la politique, et le commerce. Jusqu'a quel point la nature hybride du vocal jive a-t-elle contribue a son succes commerc…
Music, film and gangsters in the Sophiatown imaginary
Theorizing the relationships between politics and the cultural topography of Johannesburg's townships during the 1950s, this article critiques the commonplace interpretation of the period's blackurban culture as lIgintentionall/Ig resistance against apartheid. It is proposed that a more complex interpretative model may be derived by reading the significance of such iconic figures as star women musicians and elite gangsters in relation to three fu…
Sound of Africa! Making Music Zulu in a South African Studio
Kwaitoversus Crossed-over
From Rights to Responsibilities
The ethnographic endeavour is often riven by a tension between two claims to the 'right' to research asserted either on the basis of identity claims or professional expertise. A closely associated debate within the academy is characterised by an oscillation between concern about uneven power relations and the desire to maintain effective research practice. Attempting to address the absence of voices of 'subjects' in this debate, I discuss the iss…
Drumbeats, pennywhistles and all that jazz
In the forties, a pennywhistle was considered to be a child's toy: what small boys played because they could not afford 'real' instruments. What the quote I have just given illustrates particularly well is that from the sixties onwards, the pennywhistle and kwela music, the style which evolved around this instrument, had come to symbolise a whole era of South Africaâ€TMs history. I would like to explain this extraordinary metamorphosis of meaning…
Recordings
An archive of black South African popular music: recently released reissues Cold Castle National Festival: Maroka‐Jabavu Jazz 1962. Various artists. Teal Records, TELCD 2302; 1991. From marabi to disco: 42 years of township music. Compilation, Gallo Music, CDZAC 61; 1994. Hamba Notsokolo and other original hits from the 50's. Dorothy Masuka, Gallo Music, CDZAC 60, ‐. Jazz Epistle Verse 1. Jazz Epistles, Gallo Music, 66892–2, ‐. Jazz fantasia. Gid…
Sound of Africa! Making Music Zulu in a South African Studio
Commerce, Politics, and Musical Hybridity
L'A. examine plusieurs aspects de la popularite du vocal jive, un style vocal noir qui trouve son origine dans les townships de l'Afrique du Sud des annees 1950. S'interrogeant sur sa signification pour les auditeurs des townships et les raisons de son succes commercial, il met en relation trois facteurs : l'hybridite musicale, la politique, et le commerce. Jusqu'a quel point la nature hybride du vocal jive a-t-elle contribue a son succes commerc…
Music, film and gangsters in the Sophiatown imaginary
Theorizing the relationships between politics and the cultural topography of Johannesburg's townships during the 1950s, this article critiques the commonplace interpretation of the period's blackurban culture as lIgintentionall/Ig resistance against apartheid. It is proposed that a more complex interpretative model may be derived by reading the significance of such iconic figures as star women musicians and elite gangsters in relation to three fu…
Music and Politics in Africa
Kwaitoversus Crossed-over
Negotiating Conflict through Music
Tingoma is a three-day ritual conducted by Tsonga people to facilitate communication between the living and their Ancestor spirits, and to ensure that there is no disharmony between the beings in these two realms. Using a tingoma conducted for Eunice Maluleke as a case study, we argue that this ritual not only negotiates tension within an individual (body and spirit), and between an individual and his or her Ancestor spirits, but also functions a…
From Rights to Responsibilities
The ethnographic endeavour is often riven by a tension between two claims to the 'right' to research asserted either on the basis of identity claims or professional expertise. A closely associated debate within the academy is characterised by an oscillation between concern about uneven power relations and the desire to maintain effective research practice. Attempting to address the absence of voices of 'subjects' in this debate, I discuss the iss…
Deepening students' understanding of democratic citizenship through arts-based approaches to experiential service learning
Inspired by models of community engagement initiated in North-American universities, the Visual Arts Department of the University of Johannesburg (UJ), together with the community-based organisation Tshulu Trust, developed an experimental service learning course aimed at evolving an approach to community engagement appropriate to the South African context. This article assesses the first iteration of this visual arts-based service learning interv…
Art (7 works) · Music History and Culture (6 works) · Sociology (6 works) · Visual arts (6 works) · Aesthetics (5 works) · Diverse Musicological Studies (5 works) · Political science (5 works) · Politics (5 works) · South African History and Culture (5 works) · African studies and sociopolitical issues (3 works)