Due: Without exception, in PDF and by email, at 8:00pm (PST), Monday, November 01, 2021.

Instructor: Dr. Jude G

Instructor’s email address:

DIRECTIONS:

*Attempt only three questions.

*Question # 1, Section A, is compulsory.

*Choose two more question from Section B.

*Keep your answers clear, concise and analytical.

*Address your responses to the specific demands of each question.

*Illustrate your answers with apt references, and cite key sources used.

*Limit your responses to three, double-spaced, 12 pitch font pages per question.

*No excuses, late papers or haphazard submission of papers would be accepted.

*Your answer scripts must include questions chosen, your name, be in PDF and MLA format.

QUESTIONS:

SECTION A 1) Using readings and genres encountered, so far, discuss the importance of history, heritage,

cultures, creativity, genres and networks of exchanges in African diasporan musical formations.

SECTION B 2) Discuss, noting their complex grounding in historical, ideological, political, and economic

milieus, the place of soul music and funk in engendering unique capacities for intervention.

3) Analyze, mindful of each genre’s critical reference points and expressive dynamics, the

discourses of community, gender and social contestations in hip-hop and hip-hop feminism.

4) Discuss how interactions between Samba and Champeta with the dynamics of everyday life,

culture, identity and politics, in their respective societies, engender unique portals for resistance.

5) Examine, with nuances, how the confluences of religion, rituals and resistance, as charged

reference points, shape the unique features and expressive verve of Arrullo and Candomble.

6) Noting the respective contexts of their emergence outside dominant cultures, explore, with

subtleties, the intersection of social class, race, gender, stigmatization in reggae and reggaetón.