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Resumo

This book explores the complex relationship between sound recordings and colonial power structures in Southern Africa. Focusing on historical sound collections from the region, Anette Hoffmann examines how these recordings reflect and perpetuate coercive knowledge production practices. She argues that the act of recording itself was embedded within colonial hierarchies, influencing the selection of performers, the types of music documented, and the interpretations imposed upon them. The book analyzes specific examples of recordings, revealing how they were used to categorize, control, and ultimately misrepresent African musical traditions. Hoffmann also discusses the ethical implications of accessing and utilizing these historical sound archives, advocating for a more critical and nuanced approach to their interpretation and repatriation.

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