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[English version below]<\/em><\/p>\n\n\n\n Le programme \u00ab\u00a0Sounds of Southern Africa.\u00a0Music, Empowerment, Freedom<\/em>\u00a0\u00bb, d\u00e9velopp\u00e9 par l\u2019IFAS-Recherche et les d\u00e9partements Culture et Audiovisuel de l\u2019IFAS<\/mark><\/a> avec le soutien de l\u2019Institut fran\u00e7ais Paris<\/mark><\/a>, avait \u00e9t\u00e9 programm\u00e9 pour 2020, puis repouss\u00e9 \u00e0 2021-2022 en raison de la crise sanitaire. Il s\u2019agissait d\u2019explorer les liens entre musique, politique, libert\u00e9 d\u2019expression et censure dans plusieurs pays d\u2019Afrique australe et centrale, du XXe<\/sup>\u00a0si\u00e8cle \u00e0 nos jours. Le projet s\u2019est d\u00e9roul\u00e9 en plusieurs volets compl\u00e9mentaires.\u00a0<\/p>\n\n\n\n Du c\u00f4t\u00e9 de l\u2019IFAS-Recherche, une premi\u00e8re phase du projet a consist\u00e9 en la production d\u2019une s\u00e9rie de podcasts<\/mark><\/a><\/strong> dont chaque \u00e9pisode \u2014 d\u2019un format variant entre 35 minutes et une heure quinze \u2014 est centr\u00e9 sur un entretien avec un(e) chercheur(se).\u00a0Les sp\u00e9cialistes interview\u00e9(e)s analysent ces relations complexes tout en donnant \u00e0 l\u2019auditeur l\u2019occasion d\u2019\u00e9couter des morceaux m\u00e9connus. Il s\u2019agit donc \u00e0 la fois d\u2019un voyage savant \u00e0 travers une vari\u00e9t\u00e9 de genres musicaux \u2013 des m\u00e9lodies sud-africaines et namibiennes de l\u2019\u00e9poque de l\u2019apartheid \u00e0 la rumba congolaise de l\u2019\u00e9poque coloniale, en passant par le rap ou la musique populaire au Mozambique et en Angola contemporains.<\/p>\n\n\n\n Les cinq premiers \u00e9pisodes ont \u00e9t\u00e9 mis en ligne en juillet 2021 sur la plateforme MixCloud<\/mark><\/a>, ainsi que le site de l\u2019IFAS-Recherche<\/a><\/mark>. Ils portent sur le patrimoine musical confisqu\u00e9 de la Namibie\u00a0; le rap et la dissidence politique en Angola dans les ann\u00e9es 2000\u00a0; les\u00a0Hidden Years Music Archive<\/em>s de l\u2019universit\u00e9 de Stellenbosch\u00a0; l\u2019histoire de la rumba congolaise en contexte colonial\u00a0; la musique populaire comme voie de critique sociale au Mozambique. Un second volume de quatre \u00e9pisodes, publi\u00e9s en septembre 2021, a permis d\u2019aborder les d\u00e9buts de la musique populaire noire en Afrique du Sud, de faire le point sur la tradition du carnaval du Nouvel An au Cap, de d\u00e9couvrir la musique rock dans la Zambie des ann\u00e9es 1970 et enfin d\u2019\u00e9voquer l\u2019album \u00ab\u00a0Live in Lesotho<\/em>\u00a0\u00bb de Hugh Masekela (1981).<\/p>\n\n\n\n Dans une seconde phase, l\u2019IFAS-Recherche a organis\u00e9 un colloque scientifique<\/mark><\/a><\/strong>, le 17 novembre 2021, en format hybride pr\u00e9sentiel\/ en ligne, autour de la question de la conservation des archives musicales en Afrique.\u00a0Le but \u00e9tait de r\u00e9unir des archivistes et des historiens pour \u00e9changer leurs r\u00e9flexions m\u00e9thodologiques sur la nature sp\u00e9cifique des sources musicales et sur les enjeux de la conservation et de la pr\u00e9servation de ces archives.\u00a0Intitul\u00e9 \u00ab\u00a0Music Archives in Southern Africa. Challenges, Opportunities, Innovation<\/em>\u201d, le colloque a r\u00e9uni une quinzaine d\u2019experts\u00a0autour de trois th\u00e8mes de discussion\u00a0: 1)\u00a0Challenges and opportunities of curating music archive in southern Africa\u00a0: 2)\u00a0Digitality and the cost of taking music archive online\u00a0; 3)\u00a0Finding and using music archive in the global South.\u00a0L\u2019\u00e9v\u00e9nement a eu lieu \u00e0 l\u2019Alliance fran\u00e7aise de Johannesbourg et en ligne, permettant un format hybride qui a encourag\u00e9 une participation accrue, malgr\u00e9 la pand\u00e9mie.<\/p>\n\n\n\n Le dernier volet du projet a \u00e9t\u00e9 marqu\u00e9 par la mise en ligne du documentaire intitul\u00e9 \u00ab\u00a0The Hidden Years of South African Music<\/em>\u00a0\u00bb<\/mark><\/a><\/strong> consacr\u00e9 \u00e0 un fonds d\u2019archives musicales de l\u2019universit\u00e9 de Stellenbosch, qui conserve une importante documentation sur les musiques pop, jazz et rock sud-africaines des ann\u00e9es 1970-1980. Le documentaire est disponible depuis novembre 2021 sur la cha\u00eene YouTube de l\u2019IFAS-Recherche<\/mark><\/a>. Il a \u00e9t\u00e9 con\u00e7u en \u00e9troite collaboration avec Lizab\u00e9 Lambrechts, conservatrice de ces collections archivistiques.<\/p>\n\n\n\n The program “Sounds of Southern Africa.\u00a0Music, Empowerment, Freedom”, developed by IFAS-Research and the Culture and Audiovisual Departments of IFAS<\/mark><\/a> with the support of the Institut fran\u00e7ais Paris<\/mark><\/a>, had been scheduled for 2020, then postponed to 2021-2022 due to the health crisis. The aim was to explore the links between music, politics, freedom of expression and censorship in several countries of southern and central Africa, from the 20th century to the present day.<\/p>\n\n\n\n On the side of IFAS-Research, the first phase of the project consisted in the production of a series of podcasts, with 10 episodes<\/mark><\/a><\/strong> \u2013 ranging from 35 minutes to an hour and a half \u2013 focusing on an interview with a researcher.\u00a0The experts interviewed analyse these complex relationships while giving the listener the opportunity to hear little-known pieces. It is thus both a scholarly journey through a variety of musical genres – from apartheid-era South African and Namibian melodies to colonial-era Congolese rumba, to rap and popular music in contemporary Mozambique and Angola.<\/p>\n\n\n\n The first five episodes were released in July 2021 on the MixCloud platform<\/mark><\/a>, as well as the IFAS-Research website<\/mark><\/a>. They deal with the confiscated musical heritage of Namibia; rap and political dissent in Angola in the 2000s; the Hidden Years Music Archive of the University of Stellenbosch; the history of Congolese rumba in a colonial context; and popular music as a means of social critique in Mozambique. A second four-part volume, published in September 2021, discussed the beginnings of black popular music in South Africa; an update on the New Year’s carnival tradition in Cape Town; a glance at rock music in 1970s Zambia; and a look at Hugh Masekela’s 1981 album “Live in Lesotho.”<\/p>\n\n\n\n In a second phase, IFAS-Research organised a scientific conference<\/mark><\/a><\/strong> on November 17, 2021, in a hybrid face-to-face\/online format, around the issue of the conservation of music archives in Africa.\u00a0The aim was to bring together archivists and historians to exchange their methodological reflections on the specific nature of music sources and on the issues of conservation and preservation of these archives. Entitled “Music Archives in Southern Africa. Challenges, Opportunities, Innovation”, the conference brought together fifteen experts around three themes of discussion: 1) Challenges and opportunities of curating music archive in southern Africa; 2) Digitality and the cost of taking music archive online; 3) Finding and using music archive in the global South.\u00a0The event was held at the Alliance Fran\u00e7aise in Johannesburg and online, allowing for a hybrid format that encouraged increased participation, despite the pandemic.<\/p>\n\n\n\n The final component of the project was the online release of the documentary “The Hidden Years of South African Music<\/em>“<\/mark><\/a><\/strong> about a music archive at the University of Stellenbosch, which holds extensive documentation of South African pop, jazz and rock music from the 1970s-1980s. The documentary has been available since November 2021 on IFAS-Research’s YouTube channel<\/mark><\/a>. It was created in close collaboration with Lizab\u00e9 Lambrechts, curator of these archival collections.<\/p>\n\n\n","protected":false},"excerpt":{"rendered":" [English version below] Le programme \u00ab\u00a0Sounds of Southern Africa.\u00a0Music, Empowerment, Freedom\u00a0\u00bb, d\u00e9velopp\u00e9 par l\u2019IFAS-Recherche et les d\u00e9partements Culture et Audiovisuel de l\u2019IFAS avec le soutien de l\u2019Institut fran\u00e7ais Paris, avait \u00e9t\u00e9 programm\u00e9 pour 2020, puis repouss\u00e9 \u00e0 2021-2022 en raison de la crise sanitaire. Il s\u2019agissait d\u2019explorer les liens entre musique, politique, libert\u00e9 d\u2019expression et […]<\/p>\n","protected":false},"author":12,"featured_media":5962,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30,1],"tags":[],"class_list":["post-7165","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-projects","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/7165","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\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/comments?post=7165"}],"version-history":[{"count":13,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/7165\/revisions"}],"predecessor-version":[{"id":9214,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/7165\/revisions\/9214"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/media\/5962"}],"wp:attachment":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/media?parent=7165"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/categories?post=7165"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/tags?post=7165"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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