This set covers all aspects of international hip hop as expressed through music, art, fashion, dance, and political activity. Hip hop music has gone from being a marginalized genre in the late 1980s to the predominant style of music in America, the UK, Nigeria, South Africa, and other countries around the world. Hip Hop around the World includes more than 450 entries on global hip hop culture as it includes music, art, fashion, dance, social and cultural movements, organizations, and styles of hip hop. Virtually every country is represented in the text. Most of the entries focus on music styles and notable musicians and are unique in that they discuss the sound of various hip hop styles and musical artists' lyrical content, vocal delivery, vocal ranges, and more. Many additional entries deal with dance styles, such as breakdancing or b-boying/b-girling, popping/locking, clowning, and krumping, and cultural movements, such as black nationalism, Nation of Islam, Five Percent Nation, and Universal Zulu Nation. Country entries take into account politics, history, language, authenticity, and personal and community identification. Special care is taken to draw relationships between people and entities such as mentor-apprentice, producer-musician, and more.

This New Edition, features a detailed chronology of the significant events that have taken place throughout the centuries; an extensive list of acronyms and abbreviations, in both English and Portuguese; maps; and an introductory essay that explains the richness of the land; its early history; and the current political, social, and economic conditions of its people. The more than 500 dictionary entries profile the significant persons, places, and events, as well as the political institutions and the economic and social achievements that are important to understanding Angola's history. For additional information, three appendices provide the name changes of places in Angola, the portfolios of the government, and an overview of Angola's oil production. The comprehensive bibliography concludes and complements this work with a selection of older works, and an emphasis on newer works written after 1990, as well as a useful selection of Internet sources, private sources, newspapers, and journals.

This text explores how Afro-Brazilians define their Africanness through Candomblé and Quilombo models, and construct paradigms of blackness with influences from US-based perspectives, through the vectors of public rituals, carnival, drama, poetry, and hip hop.

This title was first published in 2002: Examining the recent phenomenon in conflicts in Africa, this text addresses situations where African states and African military intervene in conflicts either in neighbouring states or beyond. While this trend has been widely observed, this is the first in-depth research that deals with such issues. It breaks new ground in identifying the key issues, actors and actions, and includes analysis of military capacities of African states and the way in which armies are used, including the increasing role of private security companies and mercenaries. The changing attitudes among members of the OAU are examined, in particular the increasing acceptance of interventionism and the blurring of boundaries. The most significant cases of intervention are examined together with less well-documented examples such as Lesotho and Guinea Bissau. This engaging account makes for a compelling resource for academics and practitioners alike.

In recent decades, world music styles have been making increasing inroads into Western popular music, music theater, choral concerts, and even concert hall performances. So You Want to Sing World Music is an essential compendium of these genres and provides technical approaches to singing non-Western styles. Matthew Hoch gathers a cohort of expert performers and teachers to address singing styles from across the globe, including Tuvan throat singing, Celtic pop and traditional Irish singing, South African choral singing, Brazilian popular music genres, Hindustani classical singing, Native American vocal music, Mexican mariachi, Lithuanian sutartinės, Georgian polyphony, Egyptian vocal music, Persian āvāz, and Peking opera. Additional chapters offer resources for soloists and choral directors as well as primers on voice science, vocal health, and audio enhancement technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing World Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

‘Music Scenes and Migrations’ brings together new work from Brazilian and European scholars around the themes of musical place and transnationalism across the Atlantic triangle connecting Brazil, Africa and Europe. Moving beyond now-contested models for conceptualizing international musical relations and hierarchies of powers and influence, such as global/local or centre/periphery, the volume draws attention instead to the role of the city, in particular, in producing, signifying and mediating music-making in the colonial and post-colonial Portuguese-speaking world. In considering the roles played by cities as hubs of cultural intersection, socialization, exchange and transformation; as sites of political intervention and contestation; and as homes to large concentrations of consumers, technologies and media, Rio de Janeiro necessarily figures prominently, given its historical importance as an international port at the centre of the Lusophone Atlantic world. The volume also gives attention to other urban centres, within Brazil and abroad, towards which musicians and musical traditions have migrated and converged – such as São Paulo, Lisbon and Madrid – where they have reinvented themselves; where notions of Brazilian and Lusophone identity have been reconfigured; and where independent, peripheral and underground scenes have contested the hegemony of the musical ‘mainstream’.

The ethnomusicologist Frederick Moehn introduces a generation of Rio-based musicians who build on the música popular brasileira (MPB) of previous decades, but who have yet to receive scholarly attention. This generation, the "children of the dictatorship," reinvigorated Brazilian genres such as samba and maracatu through juxtaposition with international influences, including rock, techno, and funk. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.

Angola, slowly recovering from a twenty-seven year civil war, is becoming a regional super-power in southern Africa. This rise can be attributed to oil, diamonds, a battle-tested armed forces and a political system that is dominated by one party – the Movimento Popular de Libertação de Angola (the Popular Movement for the Liberation of Angola – MPLA). Problems remain to be solved. The vast wealth is in the control of the elite while the vast majority of the people live on less than two dollars per day. Corruption is rife, the health and education system in shambles, landmines remain a festering problem and the opposition is intimidated and split into various factions. President Eduardo dos Santos, who has ruled Angola for almost thirty-eight years, has opted not to run for re-election in the August 2017 elections. Instead his hand-picked successor João Lourenço was elected president. Interestingly, dos Santos has not surrendered his presidency of the party. This third edition of Historical Dictionary of Angola contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 700 cross-referenced entries on important personalities, politics, economy, foreign relations, religion, and culture. This book is an excellent resource for students, researchers, and anyone wanting to know more about Angola.

Hip hop is a global form of creative expression. In Cuba, Brazil, and Haiti, rappers refuse the boundaries of hip hop’s US genesis, claiming the art form as a means to empower themselves and their communities in the face of postcolonial racial and class violence. Despite the geographic and linguistic borders that separate these artists, Charlie Hankin finds in their music and lyrics a common understanding of hip hop’s capacity to intervene in the public sphere and a shared poetics of neighborhood, nation, and transatlantic yearnings. Situated at the critical intersection of sound studies and Afro-diasporic poetics, Break and Flow draws on years of ethnographic fieldwork and collaboration, as well as an archive of hundreds of songs by more than sixty hip hop artists. Hankin illuminates how new media is used to produce and distribute knowledge in the Global South, refining our understanding of poetry and popular music at the turn of the millennium.