5,479
Views
2
CrossRef citations to date
0
Altmetric
Articles

Rapping Postcoloniality: Akala’s “The Thieves Banquet” and Neocolonial Critique

Works Cited

  • Ahmad, Aijaz. “Jameson’s Rhetoric of Otherness and the ‘National Allegory’.” Social Text 17 (1987): 3–25. Print.10.2307/466475
  • Akala. BBC: BBAF Mandela Lecture. Feb 2014. Web. 19 Feb. 2016.
  • Bhabha, Homi. The Location of Culture. London: Routledge, 1994. Print.
  • Bramwell, Richard. UK Hip-Hop, Grime and the City: The Aesthetics and Ethics of London’s Rap Scenes. London: Routledge, 2015. Print.
  • Cenciarelli, Carlo. “Dr Lecter’s Taste for ‘Goldberg’, or: The Horror of Bach in the Hannibal Franchise.” Journal of the Royal Musical Association 137 (2012): 107–134. Print.10.1080/02690403.2012.669929
  • Coward, Henry. Choral Technique and Interpretation. New York: H.W. Gray, 1914. Print.
  • Day, Timothy. “Cultural History and a Singing Style: The English Cathedral Tradition.” The Oxford Handbook of Singing. Ed. Graham Welch, David M. Howard and John Nix. New York: Oxford UP, forthcoming. Print.
  • Edwards, Simone Elesha Edwards. “Interview: Akala at Hyperlink Festival.” MOBO 30 April 2013. Web. 29 June 2016.
  • Fanon, Frantz. The Wretched of the Earth. Trans. Constance Farrington. London: Penguin, 1967. Print.
  • Fox, Killian. “Akala: The Thieves Banquet – review.” The Guardian 26 May 26 2013. Web. 19 Feb. 2016.
  • Gilroy, Paul. After Empire. London: Routledge, 2004. Print.
  • Gilroy, Paul. “Art of Darkness: Black Art and the Problem of Belonging in England.” Third Text 4 (1990): 45–52. Print.10.1080/09528829008576251
  • Gilroy, Paul. There Ain’t No Black in the Union Jack. London: Hutchinson, 1987. Print.
  • Gosa, Travis. “The Fifth Element: Knowledge.” The Cambridge Companion to Hip-hop. Ed. Justin A. Williams. Cambridge: Cambridge UP, 2015. 56–70. Print.
  • Harding, Nick. “Why are so many middle-class children speaking in Jamaican patois? A father of an 11-year-old girl laments a baffling trend.” The Daily Mail 11 Oct 2013. Web. 19 Feb. 2016.
  • Hill, Sarah. Blerwytirhwng?’ The Place of Welsh Pop Music. Farnham: Ashgate, 2007. Print.
  • Jameson, Fredric. “Third-World Literature in the Era of Multinational Capitalism.” Social Text 15 (1986): 65–88. Print.10.2307/466493
  • Kennedy, Maev. “Prince Will Find Familiar Friends in Victorian Nudes as he Reopens Tate.” The Guardian 30 Oct 2001. Web. 19 Feb. 2016.
  • Kerswill, Paul. “Identity, Ethnicity and Place: The Construction of Youth Language in London.” Space in Language and Linguistics: Geographical, Interactional, and Cognitive Perspectives. Ed. Peter Auer, Martin Hilpert, Anja Stukenbrock and Benedikt Szmrecsanyi. Berlin: de Gruyter, 2013. 128–164. Print.
  • Krims, Adam. Rap Music and the Poetics of Identity. Cambridge: Cambridge UP, 2000. Print.
  • Lipsitz, George. Dangerous Crossroads. London: Verso, 1994. Print.
  • Lowe, Melanie. “Claiming Amadeus: Classical Feedback in American Media.” American Music 20 (2002): 102–119. Print.10.2307/3052244
  • McLeod, John. Beginning Postcolonialism. 2nd ed. Oxford: Oxford UP, 2013. Print.
  • McRobbie, Angela. “But is it Art?” Marxism Today Nov-Dec 1998: 55–57. Print.
  • Mercer, Kobena. “Art that is Ethnic in Inverted Commas.” Frieze. Issue 25. Nov-Dec 1995. Web. 19 Feb 2016.
  • Mitchell, Tony. “Doin’ Damage in my Native Language: The Use of ‘Resistance Vernaculars’ in Hip Hop in France, Italy, and Aotearoa/New Zealand.” Popular Music and Society 24 (2000): 41–54. Print.10.1080/03007760008591775
  • Nielsen, Steen Kaargard. “Wife Murder as Child’s Game: Analytical Reflections on Eminem’s Performative Self-Dramatization.” Danish Yearbook of Musicology 34 (2006): 31–46. Print.
  • Nkrumah, Kwame. Neo-Colonialism, the Last Stage of Imperialism. London: Thomas Nelson & Sons, 1965. Print.
  • Persley, Nicole Hodges. “Hip-hop Theater and Performance.” The Cambridge Companion to Hip-hop. Ed. Justin A. Williams. Cambridge: Cambridge UP, 2015. 85–98. Print.
  • Procter, James. Stuart Hall. London: Routledge, 1994. Print.
  • Reinhardt-Byrd, Brenna. “Stylized Turkish German as the Resistance Vernacular of German Hip-Hop.” The Cambridge Companion to Hip-hop. Ed. Justin A. Williams. Cambridge: Cambridge UP, 2015. 292–300. Print.
  • Rollefson, J. Griffith. “‘He’s Calling His Flock Now’: Black Music and Postcoloniality from Buddy Bolden’s New Orleans to Sefyu’s Paris.” American Music 33 (2015): 375–397. Print.10.5406/americanmusic.33.3.0375
  • Schneider, Rebecca. “Gesture to Opera: Yinka Shonibare’s Un Balllo in Maschera.” The Opera Quarterly 31.3 (2015): 155–169. Print.10.1093/oq/kbu028
  • Slater, Mark. “Timbre and Non-radical Didacticism in the Streets' A Grand Don't Come for Free: a Poetic-Ecological Model.” Music Analysis 30.2-3 (2011): 360–395. Print.10.1111/musa.2011.30.issue-2-3
  • Thiong’o,Ngũgĩ wa. Decolonising the Mind: The Politics of Language in African Literature. London: Heinemann, 1986. Print.
  • Thiong’o, Ngũgĩ wa. Devil on the Cross. Trans. Thiong’o, Ngũgĩ wa. London: Heinemann, 1987.
  • Tolia-Kelly, Divya and Andry Morris. “Disruptive Aesthetics?: Revisiting the Burden of Representation in the Art of Chris Ofili and Yinha Shonibare.” Third Text 18 (2004): 153–167. Print.10.1080/0952882032000199678
  • Williams, Justin, ed. The Cambridge Companion to Hip-hop. Cambridge: Cambridge UP, 2015. Print.
  • Williams, Justin. “Soweto’s War: Race, Class and Jazz/Hip-Hop Hybridities.” Black British Jazz: Routes, Ownership, Performance. Ed. Jason Toynbee, Catherine Tackley, and Mark Doffman. Farnham: Ashgate, 2014. 133–149. Print.
  • Young, Robert. Postcolonialism: A Very Short Introduction. Oxford: Oxford UP, 2003. Print.10.1093/actrade/9780192801821.001.0001
  • Zubieri, Nabeel. “‘New Throat Fe Chat’: The Voices and Media of MC Culture.” Black Music in Britain Since 1945. Ed. Jon Stratton and Nabeel Zubieri. Farnham: Ashgate, 2014. 185–201. Print.