![\"\"](\"http:\/\/www.ifas.org.za\/research\/wp-content\/uploads\/2020\/10\/Charlotte_Grabli.jpg\")
Nous avons appris avec plaisir que Charlotte Grabli \u2014 allocataire de l\u2019IFAS-Recherche en 2013 alors qu\u2019elle \u00e9tait au tout d\u00e9but de sa recherche doctorale \u2014 venait de remporter le Prix de Th\u00e8se \u00ab Afrique et ses diasporas \u00bb<\/a>, d\u00e9cern\u00e9 conjointement par la Soci\u00e9t\u00e9 des Africanistes et par le GIS \u00ab \u00c9tudes africaines \u00bb (CNRS).<\/p>\n\n\n\n Intitul\u00e9e L\u2019urbanit\u00e9 sonore. Auditeurs, circulations musicales et imaginaires afro-atlantiques entre Sophiatown et la cit\u00e9 de L\u00e9opoldville de 1930 \u00e0 1960<\/em>, cette th\u00e8se d\u2019histoire examine les rapports entre musique, politique, identit\u00e9, urbanit\u00e9 et modernit\u00e9 dans un vaste espace de circulations culturelles s\u2019\u00e9tendant du Congo belge \u00e0 l\u2019Afrique du Sud, entre 1930 et 1960. Au Congo, l\u2019appropriation par les artistes locaux de genres musicaux venus de Cuba et, plus largement d\u2019Am\u00e9rique du Nord, puis la diffusion internationale de cette musique \u2014 tout particuli\u00e8rement de la fameuse rumba congolaise, fruit d\u2019hybridations complexes \u2014 ont contribu\u00e9 \u00e0 la construction d\u2019une culture sonore transnationale et trans-coloniale. Cette diffusion s\u2019est faite au gr\u00e9 de la circulation \u00e0 grande \u00e9chelle des disques, des films, des artistes, des genres musicaux, dans le contexte du d\u00e9veloppement d\u2019une industrie des loisirs pens\u00e9 pour les citadins africains. En faisant le pari du comparatisme entre Congo belge et Afrique du Sud (et plus pr\u00e9cis\u00e9ment entre la \u00ab cit\u00e9 indig\u00e8ne \u00bb de L\u00e9opoldville et Sophiatown, \u00e0 Johannesburg), la th\u00e8se analyse avec finesse la constitution de cultures musicales urbaines qui, dans les deux pays, apparaissent dans des contextes de rel\u00e9gation et de domination des populations noires.<\/p>\n\n\n\n Loin d\u2019\u00eatre une simple histoire des musiques \u00ab populaires \u00bb modernes et des hybridations musicales en Afrique centrale et australe, la th\u00e8se construit un objet complexe et ambitieux : il s\u2019agit aussi d\u2019\u00e9crire une histoire du sensible et de montrer comment a \u00e9merg\u00e9, en quelques d\u00e9cennies, une \u00ab urbanit\u00e9 sonore \u00bb propre \u00e0 L\u00e9opoldville et Sophiatown. \u00c0 travers l\u2019\u00e9tude des acteurs sociaux (musiciens, musicologues et critiques musicaux, hommes et femmes de radio, journalistes, producteurs, amateurs de danse, client\u00e8le des bars, auditeurs de radio, etc.) et des lieux o\u00f9 se diffuse la musique (clubs, dancings, studios d\u2019enregistrement, salles de cin\u00e9ma, salles de concert, espaces de la rue, etc.), le lecteur suit pas \u00e0 pas la cr\u00e9ation d\u2019un march\u00e9 du disque africain, la professionnalisation des musiciens, le d\u00e9veloppement de programmes de radio sp\u00e9cifiquement con\u00e7us pour des publics africains, la floraison des associations festives\u2026<\/p>\n\n\n\n Cette th\u00e8se, qui s\u2019inscrit dans le courant des sound studies<\/em> et de l\u2019histoire des sensibilit\u00e9s, est extr\u00eamement novatrice. Elle ne se contente pas de proposer une histoire culturelle de la musique africaine, mais elle s\u2019attache \u00e0 montrer de fa\u00e7on convaincante comment ces musiques ont fa\u00e7onn\u00e9 des identit\u00e9s nouvelles (citadines, g\u00e9n\u00e9rationnelles, inter-coloniales, transnationales, afro-atlantiques, etc.) et des formes particuli\u00e8res d\u2019une \u00ab modernit\u00e9 \u00bb afro-centr\u00e9e et autonome des \u00ab mod\u00e8les \u00bb occidentaux et coloniaux.<\/p>\n\n\n\n La th\u00e8se de Charlotte Grabli sera publi\u00e9e en 2021 par ENS \u00c9ditions.<\/p>\n\n\n\n Quelques liens pour d\u00e9couvrir cette chercheuse <\/strong><\/p>\n\n\n\n We are pleased to announce that Charlotte Grabli \u2014 a former IFAS-Research fellow, when she was at the very beginning of her doctoral research \u2014 has just received the \u00ab Africa and its Diasporas \u00bb PhD Prize<\/a> awarded jointly by the Soci\u00e9t\u00e9 des Africanistes<\/em> and the CNRS GIS \u00ab African Studies \u00bb. <\/p>\n\n\n\n Entitled L\u2019urbanit\u00e9 sonore. Auditeurs, circulations musicales et imaginaires afro-atlantiques entre Sophiatown et la cit\u00e9 de L\u00e9opoldville de 1930 \u00e0 1960 <\/em>[Sonic Urbanity: Listeners, Musical Circulations and Afro-Atlantic Imaginaries between Sophiatown and the <\/em>Cit\u00e9 of Leopoldville, 1930-1960<\/em>], this PhD in history explores the relationships between music, politics, identity, urbanity, and modernity in a vast area of cultural circulations stretching from the Belgian Congo to South Africa. In the Congo, the appropriation by local artists of musical genres imported from Cuba and, more broadly, from North America, and the subsequent international dissemination of this music \u2014 especially the famous Congolese rumba, the result of complex hybridisation \u2014 contributed to the construction of a transnational and trans-colonial sound culture. This dissemination has taken place thanks to the long-distance circulation of records, films, artists, and musical genres, while recreational industries conceived for African city-dwellers emerged and developed. By comparing Belgian Congo and South Africa (and more precisely the Cit\u00e9 indig\u00e8ne of L\u00e9opoldville and Sophiatown in Johannesburg), the PhD analyses with great finesse the constitution of urban musical cultures which, in both countries, appeared in a context of relegation and domination imposed to black populations.<\/p>\n\n\n\n Far from being a simple history of modern \u2018popular’ music and musical hybridisation in Central and Southern Africa, this research aims to write a history of emotions and perceptions, and to show how, in a few decades, forms of \u00ab sound urbanity \u00bb (urbanit\u00e9 sonore) specific to L\u00e9opoldville and Sophiatown emerged. Through the study of social actors (musicians, musicologists and music critics, radio men and women, journalists, producers, dance lovers, bar patrons, radio listeners, etc.) and of places where music was broadcast (clubs, dance halls, recording studios, movie theatres, concert halls, streets, etc.), the reader follows step by step the creation of an African record market, the professionalisation of musicians, the development of radio programmes specifically designed for African audiences by colonial authorities, the flowering of festive associations, etc.<\/p>\n\n\n\n This doctoral thesis, in line with the approach promoted by sound studies and by the history of emotions, is extremely innovative. It does not merely offers a cultural history of African music, but it endeavours to show in a convincing way how this music has shaped new identities (urban, generational, inter-colonial, transnational, Afro-Atlantic, etc.) and particular forms of an Afro-centric and autonomous \u00ab modernity \u00bb, far from so-called Western and colonial \u00ab models \u00bb.<\/p>\n\n\n\n Charlotte Grabli’s Phd will be published in 2021 by ENS \u00c9ditions.<\/p>\n\n\n\n More information on Charlotte Grabli<\/strong><\/p>\n\n\n\n Nous avons appris avec plaisir que Charlotte Grabli \u2014 allocataire de l\u2019IFAS-Recherche en 2013 alors qu\u2019elle \u00e9tait au tout d\u00e9but de sa recherche doctorale \u2014 venait de remporter le Prix de Th\u00e8se \u00ab Afrique et ses diasporas \u00bb, d\u00e9cern\u00e9 conjointement par la Soci\u00e9t\u00e9 des Africanistes et par le GIS \u00ab \u00c9tudes africaines \u00bb (CNRS). Intitul\u00e9e L\u2019urbanit\u00e9 sonore. Auditeurs, […]<\/p>\n","protected":false},"author":2,"featured_media":5468,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,21,31,1],"tags":[],"class_list":["post-5460","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-news","category-researchers","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/5460","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/comments?post=5460"}],"version-history":[{"count":7,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/5460\/revisions"}],"predecessor-version":[{"id":5469,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/5460\/revisions\/5469"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/media\/5468"}],"wp:attachment":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/media?parent=5460"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/categories?post=5460"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/tags?post=5460"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/p>\n\n\n\n
\n\n\n\n