Performing whiteness; representing otherness : Hugh Tracey and African music
- Authors: Coetzee, Paulette June
- Date: 2015
- Subjects: Tracey, Hugh , Music -- Africa , International Library of African Music , Ethnomusicology -- Africa , Ethnomusicologists -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2327 , http://hdl.handle.net/10962/d1016502
- Description: This thesis provides a critical study of texts associated with Hugh Tracey (1903–1977). Tracey is well-known for his work in African music studies, particularly for his major contribution to the recorded archive of musical sound in sub-Saharan Africa and his founding of the International Library of African Music (ILAM) in 1954. My reading of him is informed by a postcolonial perspective, whiteness studies and African scholarship on ways in which constructions of African identity and tradition have been shaped by the colonial archive. In my view, Tracey was part of a mid-twentieth century movement which sought to marshal positive representations of traditional African culture in the interest of maintaining and strengthening colonial rule. While his recording project may have fostered inclusion through creating spaces for indigenous musicians to be heard, it also functioned to promote racist exclusion in the manner of its production, distribution and claims to expertise. Moreover, his initial strategy for ILAM’s sustainability targeted colonial government and industry as primary clients, with the promise that promoting traditional music as a means of entertainment and self-expression for black subjects and workers would ease administration and reduce conflict. I believe that it is important to acknowledge and interrogate the problematic racial attitudes and practices associated with the history of Tracey’s archive – not to undermine its significance in any way but to allow it to be better understood and used more productively in the future.
- Full Text:
- Date Issued: 2015
- Authors: Coetzee, Paulette June
- Date: 2015
- Subjects: Tracey, Hugh , Music -- Africa , International Library of African Music , Ethnomusicology -- Africa , Ethnomusicologists -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2327 , http://hdl.handle.net/10962/d1016502
- Description: This thesis provides a critical study of texts associated with Hugh Tracey (1903–1977). Tracey is well-known for his work in African music studies, particularly for his major contribution to the recorded archive of musical sound in sub-Saharan Africa and his founding of the International Library of African Music (ILAM) in 1954. My reading of him is informed by a postcolonial perspective, whiteness studies and African scholarship on ways in which constructions of African identity and tradition have been shaped by the colonial archive. In my view, Tracey was part of a mid-twentieth century movement which sought to marshal positive representations of traditional African culture in the interest of maintaining and strengthening colonial rule. While his recording project may have fostered inclusion through creating spaces for indigenous musicians to be heard, it also functioned to promote racist exclusion in the manner of its production, distribution and claims to expertise. Moreover, his initial strategy for ILAM’s sustainability targeted colonial government and industry as primary clients, with the promise that promoting traditional music as a means of entertainment and self-expression for black subjects and workers would ease administration and reduce conflict. I believe that it is important to acknowledge and interrogate the problematic racial attitudes and practices associated with the history of Tracey’s archive – not to undermine its significance in any way but to allow it to be better understood and used more productively in the future.
- Full Text:
- Date Issued: 2015
South African panorama: the novels of Daphne Rooke
- Authors: Coetzee, Paulette June
- Date: 1998
- Subjects: Rooke, Daphne, 1914- -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2222 , http://hdl.handle.net/10962/d1002265 , Rooke, Daphne, 1914- -- Criticism and interpretation
- Description: This thesis covers Daphne Rooke's eight published "South African" novels: A Grove of Fever Trees, Mittee, Ratoons, Wizards' Country, A Lover for Estelle, The Greyling, Diamond Jo, and Margaretha de la Porte. It supports the recent revival of critical interest in Rooke, and argues for the continuing relevance of her work in post-apartheid South Africa. This study also broadens the scope of recent Rooke research by including lesser known works like The Greyling and Margaretha de la Porte in its analysis. Recent criticism has focused on Rooke's unusual blend of romance and realism. The first three chapters concentrate more on "realism", emphasising the depth and extent of Rooke's engagement with serious social issues. The novels are examined in terms of their handling of the themes of class (chapter one), race (chapter two) and gender (chapter three). The concluding chapter shifts in focus to "romance" and examines the question of generic_identity -- touching on Rooke's gothic, magical realist and "popular" qualities -within a consideration of the particular "South African-ness" of her work.
- Full Text:
- Date Issued: 1998
- Authors: Coetzee, Paulette June
- Date: 1998
- Subjects: Rooke, Daphne, 1914- -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2222 , http://hdl.handle.net/10962/d1002265 , Rooke, Daphne, 1914- -- Criticism and interpretation
- Description: This thesis covers Daphne Rooke's eight published "South African" novels: A Grove of Fever Trees, Mittee, Ratoons, Wizards' Country, A Lover for Estelle, The Greyling, Diamond Jo, and Margaretha de la Porte. It supports the recent revival of critical interest in Rooke, and argues for the continuing relevance of her work in post-apartheid South Africa. This study also broadens the scope of recent Rooke research by including lesser known works like The Greyling and Margaretha de la Porte in its analysis. Recent criticism has focused on Rooke's unusual blend of romance and realism. The first three chapters concentrate more on "realism", emphasising the depth and extent of Rooke's engagement with serious social issues. The novels are examined in terms of their handling of the themes of class (chapter one), race (chapter two) and gender (chapter three). The concluding chapter shifts in focus to "romance" and examines the question of generic_identity -- touching on Rooke's gothic, magical realist and "popular" qualities -within a consideration of the particular "South African-ness" of her work.
- Full Text:
- Date Issued: 1998
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