Indigenous African Popular Music, Volume 2

Chapter 1 Extra-Mundane Communication in Ayinla Omowura’s Music: Exploring Connections Between a Tool and an Agent

Chapter 2 The Role of Politicians in Democratizing Musical Production in Northern Nigeria

Chapter 3 Popular Music, Political Mobilisation and Grandstanding: An Analysis of Maskandi in Legitimisation of Jacob Zuma (2008–2018)

Chapter 4 Popular Music and the Concept of the Dissident in Post-Independence Zimbabwe

Chapter 5 Indigenous African Popular Music, Democracy and Politics

Chapter 6 Music and Political Protests in Africa: Analysis of Selected Fela Anikulapo-Kuti’s Songs in Nigeria

Chapter 7 Singing Democracy and Politics in Post-Independence Zimbabwe: A Critical Discourse Analysis of Self-censorship in Zimbabwean Indigenous Theological-Sungura Music

Chapter 8 Indigenous African Artistes as Social Critics: A Study of Evangelist Bayo Adegboyega of Yoruba Extraction

Chapter 9 State-Minded Praise Music Culture Through Electoral Nigeria

Chapter 10 Beyond Mere Entertainment: Moral Reorientation in Ogundare Foyanmu’s Ijala Song-Texts

Chapter 11 Nigerian Indigenous Music as an Instrument of Social Crusade and Enlightenment: An Appraisal of Selected Albums of Sikiru Ayinde Barrister, Dauda Epo Akara and Odolaye Aremu

Chapter 12 Yorùbá Indigenous Musical Jingles on COVID-19: A Content Appraisal

Chapter 13 Promotion of Food Sovereignty in Africa Through Yoruba’s Indigenous Music

Chapter 14 Mainstreaming Afro-hip-hop Music in Redressing the Spread of Infodemics on COVID-19

Chapter 15 Why Not Call a Spade a Spade? Unpacking Paul Matavire’s Gender Philosophy

Chapter 16 The Communicativeness of Select Nigerian Afro-hip-hop Lyrics and Sociological Perception of Women

Chapter 17 Content and Reception of Eswatini’s Indigenous and Popular Music on Women Empowerment

Chapter 18 Ngoma Songs as Tanzanian Youths’ Third Space for Political Participation

Chapter 19 The Future of the Indigenous African Popular Music

Chapter 20 The Popular Cultural Practice of Hip-Hop Among The Indigenous !Xun and Khwe Youth of Platfontein, South Africa

Chapter 21 Zimdancehall Music as Rules of Sexual Engagement

Chapter 22 Tradi-Modern Musical Genres Amidst Neo-Colonial Western Digital Recording Towards Development in Benue State

Chapter 23 The Evolution of the Roles of Producers in the Zimbabwe Recording Industry

Chapter 24 Topic: Indigenous African Music Economics: Survival Strategies in the Face of Web Technologies

Chapter 25 Commodification of Music in the Digital Age: Locating Namibia’s Oviritje Popular Music Genre in the Capitalist Music Economy

Chapter 26 The Role of Sound Archiving of Indigenous Popular Music in the Conflict Zones of North-Eastern Nigeria