Paris, Dakar, and Bamako
New Directions in Music and Migration
Bibliographic Data
| ID | 23404708 |
|---|---|
| Authors | James A Winders (corresponding author) |
| Year | 2006 |
| Pages | 143-176 |
| Publication date | 2006-01-01 |
| Open Access | Yes |
| Type | CHAPTER |
| Venue | Paris Africain (SOURCE_BOOK) |
| Publisher | Palgrave Macmillan US (PUBLISHER) |
| DOI | 10.1057/9780230602076_6 |
| OpenAlex | W2490093057 |
| ISBN | 9780230602076 |
| Language | EN |
| References cited | 5 |
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 combination of circumstances, the African cities of Dakar and Bamako—especially Dakar—developed as thriving centers for musicians who, in previous years, may have been inclined to head for Paris. Dakar’s emergence as a significant base for musicians was signaled in part by Mamadou Konté’s move there in 1994, where he founded an association called Tringa, dedicated to promoting African music and culture much as his Africa Fête had done in France.1 From Dakar, Konté organized an annual Africa Fête international tour that flourished especially during the late 1990s.
Art · Ethnology · Geography · Humanities · Out of africa · Social science · Sociology · Thriving · African history and culture studies · Caribbean and African Literature and Culture · Cultural Identity and Heritage · History
| Highly cited | No |
|---|