By Francis Bebey, Josephine Bennett
Enticing and enlightening, this advisor explores African music's varieties, musicians, tools, and position within the lifetime of the folk. A discography categorized by means of nation, subject, workforce, and software can also be included.
Original variation: 1969
English translation: 1975, Josephine Bennett
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Additional resources for African Music: A People's Art
Both States began to waylay each other in the farms and highways. However, by 1878 the Ibadan-Ẹgba affair had developed into a major war. Perhaps the greatest factor responsible for this development was the determination of the Ijẹsha and Ekiti to take advantage of Ibadan’s troubles to free themselves from the Ibadan yoke. Surrounded in the north, west, and south by the Fulani, Ibadan, and Edo imperialists respectively, the Ekiti had been compelled to seek the alliance of one of these against the others.
By 1861 the Colonial Office had come to regard Abẹokuta as a protégé of the British and the governor of Lagos had declared ominously in 1864: ‘They [the Ẹgba] well know that one or two things must happen; either the British Government will give up Lagos, or Lagos must gradually absorb the adjacent countries. 7 The Ijẹbu reaction to the British in the circumstances described above may be best imagined. The paramount ruler of the Ijẹbu, the Awujalẹ, refused any meetings with importunate white traders.
Glover in 1872 every governor became a pacifist. Conscious of British prestige, the governors had to behave in such a way that the British should not be insulted. This, in practical terms, meant that they had to keep aloof, in dignified isolation, and behave as mere spectators in the power-politics in Yorubaland. In the circumstances they devised the policy of using educated Africans as intermediaries, a measure that safeguarded British prestige, no matter the reaction of the combatants to these intermediaries.