Papers by Thomas Jacques Le Seigneur
Entre réalités désargentées et imaginaires dorés, l’azonto, genre musical et chorégraphique... more Entre réalités désargentées et imaginaires dorés, l’azonto, genre musical et chorégraphique ghanéen, porte la revendication d’une nouvelle génération qui, dans un univers globalisant, cherche ses marques. Simple phénomène de mode en 2010 au Ghana, l’azonto s’est transformé en quelques mois en un hymne chorégraphique national. Les nouvelles technologies de communication lui permettent de devenir un vecteur d’identification transnational regroupant autour du partage de formes inédites de création, de production et de réception, des communautés éparpillées à travers le monde. Mais l’azonto ne fait pas que transcender les frontières géopolitiques et culturelles classiques. Il témoigne de la formation de nouveaux territoires physiques et virtuels, de leurs contours et des opportunités et limites qu’ils posent.
À travers l’exemple d’une jeune musique électronique d’Afrique de l’Ouest, ce mémoire propose une prospection musicale de ces aires de demain que chantent ces nouveaux ghanéens par‐delà les frontières.
-------
Stuck between destitute realities and golden imaginaries, Azonto – a Ghanaian musical genre and dance – conveys the demands of a new generation seeking its bearings in a globalizing world. Originally considered a simple Ghanaian fad in 2010, Azonto turned a few months later into a national dance anthem. With the aid of new communication technologies, it has become a transnational identification vector bonding communities scattered throughout the world, and facilitated through the sharing of new forms of creation, production and reception. However, Azonto does not only transcend classical geopolitical cultural boundaries. It reveals the formation of new physical and virtual territories, their contours and the opportunities and limitations they pose. Using this young West African electronic music style as an example, this paper proposes a musical exploration of these tunes of tomorrow sung by modern Ghanaians across and beyond their borders.
Uploads
Papers by Thomas Jacques Le Seigneur
À travers l’exemple d’une jeune musique électronique d’Afrique de l’Ouest, ce mémoire propose une prospection musicale de ces aires de demain que chantent ces nouveaux ghanéens par‐delà les frontières.
-------
Stuck between destitute realities and golden imaginaries, Azonto – a Ghanaian musical genre and dance – conveys the demands of a new generation seeking its bearings in a globalizing world. Originally considered a simple Ghanaian fad in 2010, Azonto turned a few months later into a national dance anthem. With the aid of new communication technologies, it has become a transnational identification vector bonding communities scattered throughout the world, and facilitated through the sharing of new forms of creation, production and reception. However, Azonto does not only transcend classical geopolitical cultural boundaries. It reveals the formation of new physical and virtual territories, their contours and the opportunities and limitations they pose. Using this young West African electronic music style as an example, this paper proposes a musical exploration of these tunes of tomorrow sung by modern Ghanaians across and beyond their borders.
À travers l’exemple d’une jeune musique électronique d’Afrique de l’Ouest, ce mémoire propose une prospection musicale de ces aires de demain que chantent ces nouveaux ghanéens par‐delà les frontières.
-------
Stuck between destitute realities and golden imaginaries, Azonto – a Ghanaian musical genre and dance – conveys the demands of a new generation seeking its bearings in a globalizing world. Originally considered a simple Ghanaian fad in 2010, Azonto turned a few months later into a national dance anthem. With the aid of new communication technologies, it has become a transnational identification vector bonding communities scattered throughout the world, and facilitated through the sharing of new forms of creation, production and reception. However, Azonto does not only transcend classical geopolitical cultural boundaries. It reveals the formation of new physical and virtual territories, their contours and the opportunities and limitations they pose. Using this young West African electronic music style as an example, this paper proposes a musical exploration of these tunes of tomorrow sung by modern Ghanaians across and beyond their borders.