CINXE.COM

<!DOCTYPE html>    <html class="no-js" lang="en">  <head>   <meta charset="utf-8" /> <meta http-equiv="X-UA-Compatible" content="IE=edge,chrome=1"> <meta name="viewport" content="width=device-width, initial-scale=1.0" /> <title>Heritage and Transformation of an African Popular Music</title> <script src="/core/vanilla/public/js/sentry.min.js"></script> <script> let isTerminated = false; window.addEventListener('pagehide', (event) => { isTerminated = !event.persisted; }, { capture: true }); const EXTRA_KEY = "ROUTE_TO"; Sentry.init({ dsn: "https://074fed417c764caaafebad958d2c0c95@o1239501.ingest.sentry.io/6395238", release: "www.cambridge.org" + "@" + "unreadable", environment: "prod", ignoreErrors: [], integrations: [Sentry.moduleMetadataIntegration()], transport: Sentry.makeMultiplexedTransport( Sentry.makeFetchTransport, (args) => { const event = args.getEvent(); if ( event && event.extra && EXTRA_KEY in event.extra && Array.isArray(event.extra[EXTRA_KEY]) ) { return event.extra[EXTRA_KEY]; } return []; }, ), beforeSend: (event) => { if (isTerminated || (window.location.protocol !== 'http:' && window.location.protocol !== 'https:')) { return null; } if (event?.exception?.values?.[0].stacktrace?.frames) { const { frames } = event.exception.values[0].stacktrace; const routeTo = frames .filter((frame) => frame.module_metadata && frame.module_metadata.dsn) .map((v) => v.module_metadata) .slice(-1); if (routeTo.length) { event.extra = { ...event.extra, [EXTRA_KEY]: routeTo, }; } } return event; }, }); </script>   <meta property="og:site_name" content="Cambridge Core"/> <meta property="og:type" content="website"/> <meta property="og:url" content="https://www.cambridge.org/core/elements/heritage-and-transformation-of-an-african-popular-music/E8A1EAEE4FB07A976F3F5BA276E6339C"/> <meta property="og:title" content="Heritage and Transformation of an African Popular Music"/> <meta property="og:description" content="Cambridge Core - Archaeology: General Interest - Heritage and Transformation of an African Popular Music"/> <meta property="og:image" content="https://assets.cambridge.org/97810094/69180/large_cover/9781009469180i.jpg"/> <meta name="description" content="Cambridge Core - Archaeology: General Interest - Heritage and Transformation of an African Popular Music"> <link rel="canonical" href="https://www.cambridge.org/core/elements/heritage-and-transformation-of-an-african-popular-music/E8A1EAEE4FB07A976F3F5BA276E6339C"> <meta name="citation_title" content="Heritage and Transformation of an African Popular Music"> <meta name="citation_isbn" content="9781009469159"> <meta name="citation_isbn" content="9781009469180"> <meta name="citation_isbn" content="9781009469166"> <meta name="citation_doi" content="10.1017/9781009469159"> <meta name="citation_author" content="Aghi Bahi"> <meta name="citation_author_institution" content="Université Félix Houphouët-Boigny"> <meta name="citation_publication_date" content="2024/11"> <meta name="citation_online_date" content="2024/11"> <meta name="citation_publisher" content="Cambridge University Press"> <meta name="cover_url" content="https://assets.cambridge.org/97810094/69180/cover/9781009469180.jpg"> <meta name="citation_journal_title" content="Elements in Critical Heritage Studies"> <meta name="citation_pdf_url " content="https://www.cambridge.org/core/services/aop-cambridge-core/content/view/E8A1EAEE4FB07A976F3F5BA276E6339C/9781009469180AR.pdf/heritage-and-transformation-of-an-african-popular-music.pdf"> <meta name="citation_reference" content="citation_title=Africa and her writers; citation_author=Achebe, C.; citation_publication_date=1973; citation_journal_title=The Massachusetts Review; citation_volume=14; citation_firstpage=617; citation_lastpage=629"> <meta name="citation_reference" content="citation_title=Philosophie de la nouvelle musique; citation_author=Adorno, T. W.; citation_publication_date=1962"> <meta name="citation_reference" content="citation_title=The African Imagination in Music; citation_author=Agawu, K.; citation_publication_date=2016"> <meta name="citation_reference" content="citation_title=Playing it “loud and straight”’. Reggae, Zouglou Mapouka and youth insubordination in Côte d’Ivoire; citation_author=Akindès, S.; citation_author=Palmberg, M.; citation_author=Kirkegaard, A.; citation_publication_date=2002; citation_inbook=Playing with Identities in Contemporary Music in Africa; citation_firstpage=99; citation_lastpage=100"> <meta name="citation_reference" content="citation_title=Introduction. Intellectuels populaires: Un paradoxe créatif; citation_author=Albert, C.; citation_author=Kouvouama, A.; citation_author=Maupeu, Hervé; citation_author=Albert, Christiane; citation_author=Kouvouama, Abel; citation_publication_date=2007; citation_inbook=Intellectuels populaires: Un paradoxe créatif; citation_firstpage=17; citation_lastpage=26"> <meta name="citation_reference" content="citation_title=L’imaginaire national; citation_author=Anderson, B.; citation_publication_date=1983"> <meta name="citation_reference" content="citation_title=Après le colonialisme: Les conséquences culturelles de la globalisation; citation_author=Appadurai, A.; citation_publication_date=2001"> <meta name="citation_reference" content="citation_title=La crise de la culture; citation_author=Arendt, H.; citation_publication_date=2005"> <meta name="citation_reference" content="citation_title=The Poetics; citation_author=Aristotle; citation_publication_date=1980"> <meta name="citation_reference" content="citation_title=Why Are We So Blest?; citation_author=Armah, A. K.; citation_publication_date=1972"> <meta name="citation_reference" content="citation_title=Vivre sa passion et gagner sa vie: Jeunes artistes du sud-ouest de Madagascar à la recherche de notoriété dans la capitale malgache; citation_author=Asinome, E.; citation_publication_date=2017; citation_journal_title=Afrique et Développement; citation_volume=42; citation_firstpage=173; citation_lastpage=191"> <meta name="citation_reference" content="citation_title=Non-lieux. Introduction à une anthropologie de la surmodernité; citation_author=Augé, M.; citation_publication_date=1992"> <meta name="citation_reference" content="citation_title=Amédée Pierre, le dopé national, grand maître de la parole; citation_author=Babi, R.; citation_publication_date=2010"> <meta name="citation_reference" content="citation_title=La “rurbanité” au Centre de la Recherche: Action; citation_author=Bachimon, P.; citation_publication_date=2001; citation_inbook=Sempervira; citation_firstpage=9; citation_lastpage=12"> <meta name="citation_reference" content="citation_title=Il n’y a pas de crocodiles à Cocody: Anthropologie de la communication musicale en Côte d’Ivoire; citation_author=Bahi, A.; citation_publication_date=2021"> <meta name="citation_reference" content="citation_title=L’ivoirité mouvementée: Jeunes, médias et politique en Côte d’Ivoire; citation_author=Bahi, A.; citation_publication_date=2013"> <meta name="citation_reference" content="citation_title=Musique populaire moderne et coproduction de l’imaginaire national en Côte d’Ivoire; citation_author=Bahi, A.; citation_author=Akindès, Francis; citation_publication_date=2011; citation_inbook=Côte d’Ivoire: La réinvention de soi dans la violence; citation_firstpage=133; citation_lastpage=168"> <meta name="citation_reference" content="citation_title=Jeunes et imaginaire de la modernité à Abidjan; citation_author=Bahi, A.; citation_publication_date=2010; citation_journal_title=Cadernos de estudos africanos; citation_volume=18; citation_firstpage=47; citation_lastpage=61"> <meta name="citation_reference" content="citation_title=La “télé-maquis”: Les images de l’homme ordinaire; citation_author=Bahi, A.; citation_publication_date=1999; citation_journal_title=En Quête; citation_volume=4; citation_firstpage=9; citation_lastpage=30"> <meta name="citation_reference" content="citation_title=Les “tambours bâillonnés”: Contrôle et mainmise du pouvoir sur les médias en Côte d’Ivoire’; citation_author=Bahi, A.; citation_publication_date=1998; citation_journal_title=Media Development; citation_volume=45; citation_firstpage=36; citation_lastpage=45"> <meta name="citation_reference" content="citation_title=Narration, traditions et modernité dans le discours filmique de Comment ça va? une émission de la Télévision Ivoirienne,; citation_author=Bahi, A.; citation_publication_date=1994"> <meta name="citation_reference" content="citation_title=De tous temps, de tous lieux, l’information et la communication; citation_author=Balandier, G.; citation_publication_date=2008; citation_journal_title=L’Homme; citation_volume=185; citation_firstpage=55; citation_lastpage=63"> <meta name="citation_reference" content="citation_title=Sociologie des Brazzavilles noires; citation_author=Balandier, G.; citation_publication_date=1985"> <meta name="citation_reference" content="citation_title=Anthropo-logiques; citation_author=Balandier, G.; citation_publication_date=1974"> <meta name="citation_reference" content="citation_title=Afrique ambiguë; citation_author=Balandier, G.; citation_publication_date=1957"> <meta name="citation_reference" content="citation_title=A History of African Popular Culture; citation_author=Barber, K.; citation_publication_date=2018"> <meta name="citation_reference" content="citation_title=Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods; citation_author=Barber, K.; citation_author=Röschenthaler, Ute; citation_author=Diawarra, Mamadou; citation_publication_date=2015"> <meta name="citation_reference" content="citation_title=Mythologies; citation_author=Barthes, R.; citation_publication_date=1957"> <meta name="citation_reference" content="citation_title=Les six paramètres de la métropolisation; citation_author=Bassand, M.; citation_publication_date=2001; citation_journal_title=Cahiers de la métropolisation; citation_volume=1; citation_firstpage=33; citation_lastpage=39"> <meta name="citation_reference" content="citation_title=Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook; citation_author=Bauman, R.; citation_author=Bauman, Richard; citation_publication_date=1992"> <meta name="citation_reference" content="citation_title=Préface’, in; citation_author=Bazin, L.; citation_publication_date=2014; citation_inbook=Les mutuelles de développement en Côte d’Ivoire: Idéologie de l’origine et modernisation villageoise; citation_firstpage=ii; citation_lastpage=viii"> <meta name="citation_reference" content="citation_title=Comment parler de la société: Artistes, écrivains, chercheurs et représentations sociales; citation_author=Becker, H. S.; citation_publication_date=2009"> <meta name="citation_reference" content="citation_title=Les mondes de l’art; citation_author=Becker, H.; citation_publication_date=1988"> <meta name="citation_reference" content="citation_title=Musical Performance; citation_author=Béhague, G. H.; citation_author=Bauman, Richard; citation_publication_date=1992; citation_inbook=Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook; citation_firstpage=172; citation_lastpage=178"> <meta name="citation_reference" content="citation_title=Cinquante ans de musique du Congo-Zaïre, 1920–1970: De Paul Kamba à Tabu-Ley; citation_author=Bemba, S.; citation_publication_date=1984"> <meta name="citation_reference" content="citation_title=Quel est l’objet de l’art?’; citation_author=Bergson, H.; citation_publication_date=1936"> <meta name="citation_reference" content="citation_title=Review of [Didier Fassin: Pouvoir et maladie en Afrique. Anthropologie sociale dans la banlieue de Dakar; citation_author=Bibeau, G.; citation_publication_date=1993; citation_journal_title=Anthropologie et Sociétés; citation_volume=17; citation_firstpage=253; citation_lastpage=260; citation_doi=10.7202/015260ar"> <meta name="citation_reference" content="citation_title=La sorcellerie n’existe pas; citation_author=Boa, T. R.; citation_publication_date=2010"> <meta name="citation_reference" content="citation_title=Coupé décalé: Sens d’un genre musical en Afrique; citation_author=Boka, A.; citation_publication_date=2013"> <meta name="citation_reference" content="citation_title=A propos de la World Music: Logiques de production et de réception; citation_author=Bonniol, J.-L.; citation_author=Abou, Sélim; citation_author=Haddad, Katia; citation_publication_date=1999; citation_inbook=Universalisation et différenciation des modèles culturels; citation_firstpage=320; citation_lastpage=338"> <meta name="citation_reference" content="citation_title=Méditations pascaliennes; citation_author=Bourdieu, P.; citation_publication_date=1997"> <meta name="citation_reference" content="citation_title=Les règles de l’art: Genèse et structure du champ littéraire; citation_author=Bourdieu, P.; citation_publication_date=1992"> <meta name="citation_reference" content="citation_title=Questions de sociologie; citation_author=Bourdieu, P.; citation_publication_date=1984"> <meta name="citation_reference" content="citation_title=Le nouchi c’est notre créole en quelque sorte, qui est parlé par presque toute la Côte d’Ivoire; citation_author=Boutin, A. B.; citation_author=Kouadio, J. N.; citation_author=Blumenthal, Peter; citation_publication_date=2015; citation_inbook=Dynamique des français africains: entre le culturel et le linguistique; citation_firstpage=251; citation_lastpage=271"> <meta name="citation_reference" content="citation_title=Tiken Jah Fakoly: l’Afrique ne pleure plus, elle parle; citation_author=Briard, F.; citation_publication_date=2008"> <meta name="citation_reference" content="citation_title=Tiken Jah Fakoly: Quand le reggae s’arrime à la pensée. Tome 1. La pensée universitaire; citation_author=Brou, K. D.; citation_publication_date=2018"> <meta name="citation_reference" content="citation_title=Tiken Jah Fakoly: Quand le reggae s’arrime à la pensée. Tome 2. Penser et panser l’Afrique; citation_author=Brou, K. D.; citation_publication_date=2018"> <meta name="citation_reference" content="citation_title=Anthropologie du don: Le tiers paradigme; citation_author=Caillé, A.; citation_publication_date=2007"> <meta name="citation_reference" content="citation_title=Gens de la parole: Essai sur la condition du griot dans la société malinké; citation_author=Camara, S; citation_publication_date=1992"> <meta name="citation_reference" content="citation_title=L’institution imaginaire de la société; citation_author=Castoriadis, C.; citation_publication_date=1975"> <meta name="citation_reference" content="citation_title=Les théories de l’art; citation_author=Cauquelin, A.; citation_publication_date=1999"> <meta name="citation_reference" content="citation_title=Culture et communication: Convergences théoriques et lieux de médiation; citation_author=Caune, J.; citation_publication_date=1995"> <meta name="citation_reference" content="citation_title=La grande geste du Mali: Des origines à la fondation de l’empire; citation_author=Cissé, Y. T.; citation_author=Kamissoko, W.; citation_publication_date=1988"> <meta name="citation_reference" content="citation_title=West African Pop Roots; citation_author=Collins, J.; citation_publication_date=1992"> <meta name="citation_reference" content="citation_title=Pour une anthropologie des médias; citation_author=Coman, M.; citation_publication_date=2003"> <meta name="citation_reference" content="Contreras, A., 2016, Musiques du monde sur Jacques Bizollon, Radio France internationale https://musique.rfi.fr/emission/info/musiques-monde/20160203-2-jacques-bizollon."> <meta name="citation_reference" content="citation_title=Intellectuels visibles, intellectuels invisibles; citation_author=Copans, J.; citation_publication_date=1993; citation_journal_title=Politique Africaine; citation_volume=51; citation_firstpage=7; citation_lastpage=25; citation_doi=10.3406/polaf.1993.5682"> <meta name="citation_reference" content="Dagri, P., 2019a, ‘La fanfare des peuples de la côtière de Côte d’Ivoire: d’hier à aujourd’hui’, www.universitepopulairemeroeafrica.org."> <meta name="citation_reference" content="Dagri, P., 2019b, ‘The sound phenomenon in Africa – music: A semiological approach’, www.universitepopulairemeroeafrica.org."> <meta name="citation_reference" content="citation_title=Vers une définition de l’Art chez les Bété: le mythe de Srèlè; citation_author=Dédy, S.; citation_author=Wondji, Christophe; citation_publication_date=1986; citation_inbook=La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel; citation_firstpage=27; citation_lastpage=41"> <meta name="citation_reference" content="citation_title=Musique traditionnelle et développement national en Côte d’Ivoire; citation_author=Dédy, S.; citation_publication_date=1984; citation_journal_title=Tiers-Monde, Vol. 25; citation_volume=97; citation_firstpage=109; citation_lastpage=124"> <meta name="citation_reference" content="citation_title=Nature, culture, écriture: La violence de la lettre de Lévi-Strauss à Rousseau; citation_author=Derrida, J.; citation_publication_date=1966"> <meta name="citation_reference" content="citation_title=Breaking the contract? Handling intangible cultural goods among different generations in Mali; citation_author=Diawarra, M.; citation_author=Röschenthaler, Ute; citation_author=Diawarra, Mamadou; citation_publication_date=2015; citation_inbook=Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods; citation_firstpage=242; citation_lastpage=265"> <meta name="citation_reference" content="citation_title=L’épopée de la pop music ivoirienne; citation_author=Djédjé, A.-P.; citation_publication_date=2020"> <meta name="citation_reference" content="citation_title=Le développement et la question de l’expression “on est en Afrique”. Essai de réflexion psychosociologique sur un facteur idéologique du sous-développement en Afrique; citation_author=Djédjé, N. D.; citation_publication_date=2005; citation_journal_title=Kasa Bya Kasa: Revue ivoirienne d’anthrolopologie et de sociologie; citation_volume=7; citation_firstpage=73; citation_lastpage=86"> <meta name="citation_reference" content="citation_title=La mondialisation; citation_author=Dollfus, O.; citation_publication_date=2007"> <meta name="citation_reference" content="citation_title=Reggae, ideologies et luttes émancipatrices en Afrique; citation_author=Doua, E.; citation_publication_date=2020; citation_journal_title=Hermès; citation_volume=86; citation_firstpage=158; citation_lastpage=163; citation_doi=10.3917/herm.086.0158"> <meta name="citation_reference" content="citation_title=Les médias dans les politiques culturelles africaines: Le cas du MASA en Côte d’Ivoire; citation_author=Doua, E.; citation_publication_date=2009"> <meta name="citation_reference" content="Doumergue, D., 1981, ‘Essai sur l’alcoolisme en Côte d’Ivoire, 1900–1958’, Annales de l’Université d’Abidjan, Série I (Histoire), Tome IX, pp. 99–120."> <meta name="citation_reference" content="citation_title=Les formes élémentaires de la vie religieuse: Le système totémique en Australie; citation_author=Durkheim, E.; citation_publication_date=2007"> <meta name="citation_reference" content="citation_title=Fêtes et civilisations, followed by La fête aujourd’hui; citation_author=Duvignaud, J.; citation_publication_date=1991"> <meta name="citation_reference" content="citation_title=La crise du muntu: Authenticité africaine et philosophie; citation_author=Eboussi Boulaga, F.; citation_publication_date=1977"> <meta name="citation_reference" content="citation_title=Ville cruelle; citation_author=Boto, Eza; citation_publication_date=1954"> <meta name="citation_reference" content="citation_title=Les damnés de la terre; citation_author=Fanon, F.; citation_publication_date=1961"> <meta name="citation_reference" content="citation_title=What’s My Name? Black Vernacular Intellectuals; citation_author=Farred, G.; citation_publication_date=2003"> <meta name="citation_reference" content="citation_title=Musiques populaires urbaines et stratégies du refus en Côte d’Ivoire; citation_author=Fié Doh, L.; citation_publication_date=2012"> <meta name="citation_reference" content="citation_title=Le sacre de l’amateur: Sociologie des passions ordinaires à l’ère du numérique; citation_author=Flichy, P.; citation_publication_date=2010"> <meta name="citation_reference" content="citation_title=Les industries de l’imaginaire; citation_author=Flichy, P.; citation_publication_date=1991"> <meta name="citation_reference" content="citation_title=Note on world beat; citation_author=Feld, S.; citation_publication_date=1988; citation_journal_title=Public Culture; citation_volume=1; citation_firstpage=31; citation_lastpage=37; citation_doi=10.1215/08992363-1-1-31"> <meta name="citation_reference" content="citation_title=Poïétique de la création sonore au cinéma: La figure de l’artiste-poïéticien; citation_author=Forest, P.-O.; citation_publication_date=2013"> <meta name="citation_reference" content="citation_title=Les métamorphoses de la crise: Racismes et révolutions au XXe siècle; citation_author=Fougeyrollas, P.; citation_publication_date=1987"> <meta name="citation_reference" content="citation_title=La sorcellerie: Une réalité vivante en Afrique; citation_author=Gadou, D.; citation_publication_date=2011"> <meta name="citation_reference" content="Gibert, G. & Leguern, Ph., 2008, ‘Faire l’histoire des musiques amplifiées en France’, Stéréo: Sociologie comparée des musiques populaires, France – Grande-Bretagne, Guichen, Éditions Mélanie Seteun, Irma, Musique et société/9, DOI: https://doi.org/10.4000/books.ms.405, Publication on OpenEdition Books: 12 September 2019."> <meta name="citation_reference" content="citation_title=The Black Atlantic: Modernité et double conscience; citation_author=Gilroy, P.; citation_publication_date=2010"> <meta name="citation_reference" content="citation_title=Les conséquences de la modernité; citation_author=Giddens, A.; citation_publication_date=1994"> <meta name="citation_reference" content="citation_title=L’imaginé, l’imaginaire & le symbolique; citation_author=Godelier, M.; citation_publication_date=2015"> <meta name="citation_reference" content="citation_title=Introduction; citation_author=Goerg, O.; citation_author=Goerg, Odile; citation_publication_date=1999; citation_inbook=Fêtes urbaines en Afrique: Espaces, identités et pouvoirs; citation_firstpage=5; citation_lastpage=13"> <meta name="citation_reference" content="citation_title=Les cadres de l’expérience; citation_author=Goffman, E.; citation_publication_date=1991"> <meta name="citation_reference" content="citation_title=Ô, Kisasa makambo! Métamorphoses et représentations de Kinshasa à travers le discours musical des années 1950–1960; citation_author=Gondola, Ch. D.; citation_publication_date=2003; citation_journal_title=Le Mouvement social; citation_volume=3; citation_firstpage=109; citation_lastpage=129; citation_doi=10.2307/3779939"> <meta name="citation_reference" content="citation_title=Oh rio-Ma! Musique et guerre des sexes à Kinshasa: 1930–1990; citation_author=Gondola, Ch. D.; citation_publication_date=1997; citation_journal_title=Revue Française d’Histoire d’Outre-Mer; citation_volume=4; citation_firstpage=51; citation_lastpage=81; citation_doi=10.3406/outre.1997.3508"> <meta name="citation_reference" content="citation_title=Musicologie et développement dans la société ivoirienne; citation_author=Goran, K. M. A.; citation_publication_date=2011"> <meta name="citation_reference" content="citation_title=Textes; citation_author=Gramsci, A.; citation_publication_date=1983"> <meta name="citation_reference" content="citation_title=L’enquête sociologique, la critique sociale et l’expertise politique; citation_author=Grignon, C.; citation_publication_date=2000; citation_journal_title=Revue Européenne des Sciences Sociales; citation_volume=XXXVIII; citation_firstpage=101; citation_lastpage=113; citation_doi=10.4000/ress.695"> <meta name="citation_reference" content="citation_title=Arafat DJ: Histoire et légende d’une comète; citation_author=Guébo, J.; citation_publication_date=2022"> <meta name="citation_reference" content="citation_title=Identités et cultures: Politique des cultural studies; citation_author=Hall, S.; citation_author=Cervulle, Maxime; citation_publication_date=2007"> <meta name="citation_reference" content="citation_title=Amkoulel, l’enfant peul; citation_author=Hampâté Bâ, A.; citation_publication_date=1992"> <meta name="citation_reference" content="citation_title=Introduction à l’esthétique; citation_author=Hegel, G. W. F.; citation_publication_date=1964"> <meta name="citation_reference" content="citation_title=Les professionnels du disque: Une sociologie des variétés; citation_author=Hennion, A.; citation_publication_date=1981"> <meta name="citation_reference" content="citation_title=L’art, l’aura et la technique selon Benjamin ou comment devenir célèbre en faisant tant d’erreurs à la fois …; citation_author=Hennion, A.; citation_author=Latour, A.; citation_publication_date=1996; citation_journal_title=Cahiers de médiologie; citation_volume=1; citation_firstpage=235; citation_lastpage=241; citation_doi=10.3917/cdm.001.0235"> <meta name="citation_reference" content="citation_title=Song; citation_author=Herndon, M.; citation_author=Bauman, Richard; citation_publication_date=1992; citation_inbook=Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook; citation_firstpage=159; citation_lastpage=166"> <meta name="citation_reference" content="citation_title=Introduction: Inventing Traditions’, The Invention of Tradition; citation_author=Hobsbawm, E.; citation_author=Hobsbawm, Éric; citation_author=Ranger, Terence; citation_publication_date=2006"> <meta name="citation_reference" content="citation_title=La révolte du zouglou en Côte d’Ivoire: 30 ans de revendications (1991–2021); citation_author=Kadi, G.-A.; citation_publication_date=2021"> <meta name="citation_reference" content="citation_title=Didactics of music education: De la théorie à la pratique. Tome; citation_author=Kanga, K.; citation_author=Goran, K. M. A.; citation_publication_date=2017"> <meta name="citation_reference" content="citation_title=Roots of Black Music: The Vocal, Instrumental and Dance Heritage of Africa and Black America; citation_author=Kebede, A.; citation_publication_date=1982"> <meta name="citation_reference" content="citation_title=Villes de Côte d’Ivoire (1893–1940). Tome 2, Économie et société urbaine; citation_author=Kipré, P.; citation_publication_date=1986"> <meta name="citation_reference" content="citation_title=Villes de Côte d’Ivoire (1893–1940). Tome 1, La fondation des villes; citation_author=Kipré, P.; citation_publication_date=1985"> <meta name="citation_reference" content="citation_title=La place des centres urbains dans l’économie de la Côte d’Ivoire de 1920 à 1930; citation_author=Kipré, P.; citation_publication_date=1975; citation_journal_title=Annales de l’Université d’Abidjan, Série I (Histoire), Tome; citation_volume=3; citation_firstpage=93; citation_lastpage=120"> <meta name="citation_reference" content="citation_title=Le grand livre de la musique ivoirienne, tome 1: Alpha Blondy et la galaxie reggae; citation_author=Koffi, T.; citation_author=Kipré, A.; citation_author=N’Ko, L.; citation_publication_date=2022"> <meta name="citation_reference" content="citation_title=Ne cherchez pas à comprendre. Dansez seulement! Le Coupé-Décalé et les jeunes en Côte d’Ivoire; citation_author=Kolé, M.; citation_publication_date=2023"> <meta name="citation_reference" content="citation_title=Génération zouglou; citation_author=Konaté, Y.; citation_publication_date=2002; citation_inbook=Cahiers d’études africaines; citation_firstpage=777; citation_lastpage=796"> <meta name="citation_reference" content="citation_title=Alpha Blondy: Reggae et société en Afrique noire; citation_author=Konaté, Y.; citation_publication_date=1987"> <meta name="citation_reference" content="citation_title=La cantatrice Zélé de Papara, une voix au service de la justice et de l’égalité en pays sénoufo; citation_author=Koné, B.; citation_author=Paris, Edilivre; citation_publication_date=2020; citation_inbook=Droits de l’homme en arts, littératures et sciences humaines en Afrique; citation_firstpage=45; citation_lastpage=69"> <meta name="citation_reference" content="citation_title=La dynamique des médias dans les sociétés en mutations: Le cas de la Côte d’Ivoire; citation_author=Koné, H.; citation_publication_date=1989"> <meta name="citation_reference" content="citation_title=La conservation et la transcription des œuvres musicales du service des archives de la documentation générale du BURIDA: Enjeux et perspectives; citation_author=Kossonou, H.; citation_publication_date=2020"> <meta name="citation_reference" content="citation_title=Anthropologie de la chanson congolaise de variétés: Imaginaire, production du sens; citation_author=Kouvouama, A.; citation_publication_date=2013"> <meta name="citation_reference" content="Kua-Nzambi Toko, A. 2018, ‘Musique africaine et répertoire choral’, musicologie.org, www.musicologie.org/publirem/musique_africaine_et_repertoire_choral.html."> <meta name="citation_reference" content="citation_title=Territoires de musiques et cultures urbaines: Rock, rap, techno… l’émergence de la création musicale à l’heure de la mondialisation; citation_author=Laffanour, A.; citation_publication_date=2003"> <meta name="citation_reference" content="citation_title=Le sens de la ville; citation_author=Lamizet, B.; citation_publication_date=2002"> <meta name="citation_reference" content="citation_title=Changer la société, refaire de la sociologie; citation_author=Latour, B.; citation_publication_date=2007"> <meta name="citation_reference" content="citation_title=Reggae, resistance and the State: Television and popular music in Côte d’Ivoire; citation_author=Land, Mitchell F.; citation_publication_date=1995; citation_journal_title=Critical Studies in Mass Communication; citation_volume=12; citation_firstpage=438; citation_lastpage=454; citation_doi=10.1080/15295039509366950"> <meta name="citation_reference" content="citation_title=Ivoirian television, willing vector of cultural imperialism; citation_author=Land, Mitchell; citation_publication_date=1992; citation_journal_title=Howard Journal of Communications; citation_volume=4; citation_firstpage=10; citation_lastpage=27; citation_doi=10.1080/10646179209359762"> <meta name="citation_reference" content="citation_title=Le maître de la parole: Kouma lafôlô kouma; citation_author=Laye, C.; citation_publication_date=1978"> <meta name="citation_reference" content="citation_title=L’énergie sociale à Abidjan: Économie politique de la ville en Afrique noire, 1930–1995; citation_author=Le Pape, M.; citation_publication_date=1997"> <meta name="citation_reference" content="citation_title=Tu sais, on est en Afrique”: Essai d’analyse de séquences discursives orales; citation_author=Leimdorfer, F.; citation_publication_date=2006; citation_journal_title=Semen; citation_volume=21"> <meta name="citation_reference" content="citation_title=Anthropologie structurale 2; citation_author=Lévi-Strauss, C.; citation_publication_date=1962"> <meta name="citation_reference" content="citation_title=, Anthropologie structurale; citation_author=Lévi-Strauss, C.; citation_publication_date=1958"> <meta name="citation_reference" content="citation_title=La condition postmoderne; citation_author=Lyotard, J.-F.; citation_publication_date=1979"> <meta name="citation_reference" content="citation_title=Introduction. Negotiating modernity: From colonialism to globalization; citation_author=Macamo, E.; citation_author=Macamo, Elisio Salvado; citation_publication_date=2005; citation_inbook=Negotiating Modernity: Africa’s Ambivalent Experience; citation_firstpage=1; citation_lastpage=16"> <meta name="citation_reference" content="citation_title=Le temps des tribus: Le déclin de l’individualisme dans les sociétés de masse; citation_author=Maffesoli, M.; citation_publication_date=1988"> <meta name="citation_reference" content="citation_title=The Musical Heritage of Slavery: From Creolization to “World Music; citation_author=Martin, D.-C.; citation_author=Bob, W. White; citation_publication_date=2012; citation_inbook=Music and Globalization: Critical Encounters; citation_firstpage=17; citation_lastpage=39"> <meta name="citation_reference" content="Masselis, J., 2016, ‘Platon, ou la musique au cœur d’un projet politique’, [online] www.francemusique.fr/actualite-musicale/platon-ou-la-musique-au-coeur-d-un-projet-politique-277, accessed 28 February 2020."> <meta name="citation_reference" content="citation_title=Le français en république démocratique du Congo: Sous l’ère multipartiste (1991–2006); citation_author=Massoumou, O.; citation_author=Queffélec, A. J.-M.; citation_publication_date=2007"> <meta name="citation_reference" content="citation_title=, Essai sur le don:; citation_author=Mauss, M.; citation_publication_date=1925; citation_inbook=Form and Reason of Exchange in Archaic Societies"> <meta name="citation_reference" content="Mazzoleni, F., 2010, ‘Les musiques des indépendances africaines’, Africultures [Online], http://africultures.com/les-musiques-des-independances-africaines-9859/09.08.2018."> <meta name="citation_reference" content="citation_title=Les jeunes et l’ordre politique en Afrique noire; citation_author=Mbembe, J. A.; citation_publication_date=1985"> <meta name="citation_reference" content="citation_title=Des ancêtre fondateurs aux Pères de la nation: Introduction à une anthropologie de la démocratie; citation_author=Memel-Fotê, H.; citation_publication_date=1991; citation_inbook=XIIIe conférence March Bloch"> <meta name="citation_reference" content="citation_title=Qu’est-ce que la philosophie; citation_author=Meyer, M.; citation_publication_date=1997"> <meta name="citation_reference" content="Meyran, R., 2014, ‘Les musiques urbaines, ou la subversion des codes esthétiques occidentaux’, www.espacestemps.net/articles/les-musiques-urbaines-ou-la-subversion-des-codes-esthetiques-occidentaux/, accessed 9 March 2019."> <meta name="citation_reference" content="citation_title=Afrique: Jeunesses uniques, jeunesse encadrée; citation_author=Mignon, J. M.; citation_publication_date=1984"> <meta name="citation_reference" content="citation_title=Introduction’, African Intellectuals: Rethinking Politics, Language, Gender and Development; citation_author=Mkandawire, T.; citation_author=Mkandawire, Thandika; citation_publication_date=2005"> <meta name="citation_reference" content="citation_title=Le jeu de l’identité; citation_author=Moessinger, P.; citation_publication_date=2000"> <meta name="citation_reference" content="citation_title=Le Singe Musicien: Sémiologie et anthropologie de la musique; citation_author=Molino, J.; citation_publication_date=2009"> <meta name="citation_reference" content="citation_title=Sociologie de l’autorité; citation_author=Moreau de Bellaing, L.; citation_publication_date=1990"> <meta name="citation_reference" content="citation_title=Sociologie de la culture populaire; citation_author=Mouchtouris, A.; citation_publication_date=2007"> <meta name="citation_reference" content="citation_title=, The soundscape: Le monde comme musique; citation_author=Murray Schafer, R.; citation_publication_date=2010"> <meta name="citation_reference" content="citation_title=Introduction à l’œuvre musicologique de Jean Molino; citation_author=Nattiez, J.-J.; citation_publication_date=2009; citation_inbook=Le Singe Musicien: Sémiologie et anthropologie de la musique; citation_firstpage=13; citation_lastpage=70"> <meta name="citation_reference" content="citation_title=Le drame démocratique africain sur scène en Côte d’Ivoire; citation_author=N’Da, P.; citation_publication_date=1999"> <meta name="citation_reference" content="citation_title=La musique dans le débat politique et identitaire en Côte d’Ivoire: Le cas du zouglou; citation_author=Nganguè, E.; citation_publication_date=2009"> <meta name="citation_reference" content="citation_title=La rumba congolaise: Sa splendeur, ses effluves, ses profondeurs; citation_author=Ngoran, E. Y.; citation_publication_date=2013"> <meta name="citation_reference" content="citation_title=Soundjata ou l’épopée mandingue; citation_author=Niane, D. T.; citation_publication_date=1960"> <meta name="citation_reference" content="Nyamnjoh, F. B., 2020, ‘Manu Dibango: Afropolitan musical genius with a giant heart’, https://theconversation.com/manu-dibango-afropolitan-musical-genius-with-a-giant-heart-134679."> <meta name="citation_reference" content="Nyamnjoh, F. B., 2019, ‘ICTs as Juju: African inspiration for understanding the compositeness of being human through digital technologies’, Journal of African Media Studies, Vol. 11, No. 3, pp. 279–291."> <meta name="citation_reference" content="citation_title=Eating and Being Eaten: Cannibalism as Food for Thought; citation_author=Nyamnjoh, F. B.; citation_author=Francis, B. Nyamnjoh; citation_publication_date=2018"> <meta name="citation_reference" content="Nyamnjoh, F. B., 2017, ‘Incompleteness: Frontier Africa and the currency of conviviality’, Journal of Asian and African Studies, Vol. 52, No. 3, pp. 253–270."> <meta name="citation_reference" content="citation_title=Potted plants in greenhouses’: A critical reflection on the resilience of the colonial education in Africa; citation_author=Nyamnjoh, F. B.; citation_publication_date=2012; citation_journal_title=Journal of Asian and African Studies; citation_volume=47; citation_firstpage=129; citation_lastpage=154; citation_doi=10.1177/0021909611417240"> <meta name="citation_reference" content="citation_title=Entertaining repression: Music and politics in postcolonial Cameroon; citation_author=Nyamnjoh, F. B.; citation_author=Fokwang, J.; citation_publication_date=2005; citation_journal_title=African Affairs; citation_volume=104; citation_firstpage=251; citation_lastpage=274; citation_doi=10.1093/afraf/adi007"> <meta name="citation_reference" content="citation_title=Arrest the Music! Fela and His Rebel Art and Politics; citation_author=Olaniyan, T.; citation_publication_date=2004"> <meta name="citation_reference" content="citation_title=Ce que la téléphonie mobile fait à la musique ouest-africaine. Le projet ZikMali: un nouveau modèle de distribution musicale?; citation_author=Olivier, E.; citation_publication_date=2020; citation_journal_title=Réseaux; citation_volume=1; citation_firstpage=71; citation_lastpage=104; citation_doi=10.3917/res.219.0071"> <meta name="citation_reference" content="citation_title=Le griot dans la société traditionnelle africaine: Patrimoine et survivance d’une conscience d’être et de culture; citation_author=Ouattara, I.; citation_publication_date=2018; citation_journal_title=International Journal of Latest Research in Humanities and Social Sciences (IJLRHSS); citation_volume=01; citation_firstpage=43; citation_lastpage=52"> <meta name="citation_reference" content="citation_title=L’influence des Américains noirs sur les Ivoiriens dans la région d’Abidjan (à travers les mass-médias); citation_author=Ouattara, A.; citation_publication_date=1985; citation_journal_title=Kasa Bya Kasa Revue ivoirienne d’anthropologie et de sociologie No.; citation_volume=7; citation_firstpage=70; citation_lastpage=97"> <meta name="citation_reference" content="citation_title=La musique islamique en Côte d’Ivoire: Difficultés et conditions d’émergence; citation_author=Ouattara, O. J.; citation_author=Lasme, M. F; citation_publication_date=2016; citation_journal_title=Communication en question; citation_volume=6; citation_firstpage=22; citation_lastpage=39"> <meta name="citation_reference" content="Paillé, L., 2004, Livre: La démarche de création, Trois-Rivières, ed. Le Sabord."> <meta name="citation_reference" content="citation_title=Il faut rendre à Manu …; citation_author=Pajon, L.; citation_publication_date=2021; citation_journal_title=Jeune Afrique; citation_volume=3096; citation_firstpage=54; citation_lastpage=55"> <meta name="citation_reference" content="citation_title=Esthétique et poïétique; citation_author=Passeron, R.; citation_publication_date=1999; citation_journal_title=Filozofski vestnik; citation_volume=XX; citation_firstpage=265; citation_lastpage=276"> <meta name="citation_reference" content="citation_title=Qu’est-ce qu’un héritage? Un enjeu pour le travail social de demain; citation_author=Paturet, J.-B.; citation_publication_date=2007; citation_journal_title=Empan; citation_volume=4; citation_firstpage=22; citation_lastpage=27"> <meta name="citation_reference" content="citation_title=A Tribute to William Fagg, April 28, 1914–July 10, 1992; citation_author=Picton, J.; citation_publication_date=1992; citation_journal_title=African Arts; citation_volume=27"> <meta name="citation_reference" content="citation_title=L’apprentissage de la ville en Afrique sud-saharienne; citation_author=Piermay, J.-L.; citation_publication_date=2003; citation_journal_title=Le mouvement social; citation_volume=3; citation_firstpage=35; citation_lastpage=46; citation_doi=10.3917/lms.204.0035"> <meta name="citation_reference" content="Pierrat, E., 2005, ‘How is copyright protected in Africa? An answer from Emmanuel Pierrat, lawyer at the Paris Bar and writer, specialising in intellectual property law’, interviewed by Ibrahima Dia, Jeune Afrique, 18 July, www.jeuneafrique.com/94652/archives-thematique/comment-est-prot-g-le-droit-d-auteur-en-afrique/."> <meta name="citation_reference" content="citation_title=The Republic; citation_author=Plato; citation_publication_date=1966"> <meta name="citation_reference" content="citation_title=Tango ya ba Wendo; citation_author=Popovitch, M.; citation_publication_date=1992"> <meta name="citation_reference" content="citation_title=Cherchez le peuple… Culture, populaire et politique; citation_author=Martin, D.-C.; citation_publication_date=2000; citation_journal_title=Critique internationale; citation_volume=7; citation_firstpage=169; citation_lastpage=183; citation_doi=10.3406/criti.2000.1571"> <meta name="citation_reference" content="Retord, G., 1986, ‘Les premières projections cinématographiques en Côte d’Ivoire’, Communication Audiovisuelle, No. 6, pp. 11–31."> <meta name="citation_reference" content="citation_title=Cinémas des diasporas noires: esthétique de la reconstruction; citation_author=Ricci, D.; citation_publication_date=2016"> <meta name="citation_reference" content="citation_title=Be faster than the pirates”. Copyright and the revival of “traditional dances” in south-west Cameroon; citation_author=Röschenthaler, U.; citation_author=Röschenthaler, Ute; citation_author=Diawarra, Mamadou; citation_publication_date=2015; citation_inbook=Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods; citation_firstpage=177; citation_lastpage=213"> <meta name="citation_reference" content="Roskem, K. J. P., 2014, L’émergence d’une scène musicale à N’Djaména. Indentification des acteurs et des territoires, doctoral thesis in information and communication sciences, Avignon, Université d’Avignon et des pays du Vaucluse."> <meta name="citation_reference" content="Rouch, J., 1967, Jaguar, Paris, Les films de la Pléiade, 35 mm, colour, 110 min."> <meta name="citation_reference" content="citation_title=La pyramide humaine; citation_author=Rouch, J.; citation_publication_date=1961"> <meta name="citation_reference" content="citation_title=Moi un noir; citation_author=Rouch, J.; citation_publication_date=1959"> <meta name="citation_reference" content="citation_title=Les maîtres fous; citation_author=Rouch, J.; citation_publication_date=1955"> <meta name="citation_reference" content="citation_title=Les musiques diffusées dans les lieux publics: Analyse et enjeux de pratiques communicationnelles quotidiennes; citation_author=Rouzé, V.; citation_publication_date=2004"> <meta name="citation_reference" content="Rowlands, M., 2008, ‘Civilization, violence and heritage healing in Liberia’, Journal of Material Culture, Vol. 13, No. 2, pp. 135–152, DOI: https://10.1177/1359183508090900."> <meta name="citation_reference" content="citation_title=The role of memory in the transmission of culture; citation_author=Rowlands, M.; citation_publication_date=1993; citation_journal_title=World Archeology; citation_volume=5; citation_firstpage=141; citation_lastpage=151; citation_doi=10.1080/00438243.1993.9980234"> <meta name="citation_reference" content="citation_title=Ce que dit la musique africaine; citation_author=Sadji, A.; citation_publication_date=1985"> <meta name="citation_reference" content="citation_title=Plaidoyer pour les intellectuels; citation_author=Sartre, J.-P.; citation_publication_date=1972"> <meta name="citation_reference" content="citation_title=Performance: Expérimentation et théorie du théâtre aux USA; citation_author=Schechner, R.; citation_publication_date=2008"> <meta name="citation_reference" content="citation_title=Between Theatre and Anthropology; citation_author=Schechner, R.; citation_publication_date=1985"> <meta name="citation_reference" content="citation_title=Écrits sur la musique: 1924–1956; citation_author=Schütz, A.; citation_publication_date=2007"> <meta name="citation_reference" content="citation_title=Domination and the Arts of Resistance: Fragments du discours subalterne; citation_author=Scott, J. C.; citation_publication_date=2009"> <meta name="citation_reference" content="citation_title=The gods are resting there: Challenges to the protection of heritage sites through legislation and local knowledge; citation_author=Segobye, A. K.; citation_author=Mazondé, Isaac; citation_author=Thomas, Pradip; citation_publication_date=2007; citation_inbook=Indigenous Knowledge Systems and Intellectual Property in the Twenty-First Century: Perspectives from Southern Africa; citation_firstpage=78; citation_lastpage=94"> <meta name="citation_reference" content="citation_title=Le Tohourou: Un chemin vers la sagesse; citation_author=Séry, B.; citation_publication_date=2015"> <meta name="citation_reference" content="citation_title=Imaginaire et sociologie; citation_author=Tacussel, P.; citation_author=Renard, J.-B.; citation_author=Thomas, Joël; citation_publication_date=1998; citation_inbook=Introduction aux méthodologies de l’imaginaire; citation_firstpage=273; citation_lastpage=280"> <meta name="citation_reference" content="citation_title=L’art et l’artiste selon Srolou; citation_author=Tapé, G.; citation_author=Wondji, Christophe; citation_publication_date=1986; citation_inbook=La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel; citation_firstpage=137; citation_lastpage=157"> <meta name="citation_reference" content="citation_title=L’art et l’artiste selon Srolou; citation_author=Tapé, G.; citation_author=Wondji, Christophe; citation_publication_date=1986; citation_inbook=La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel; citation_firstpage=137; citation_lastpage=157"> <meta name="citation_reference" content="citation_title=Musique, identité et insertion sociale. Mangue Beat: humus culturel; citation_author=Tesser, P.; citation_publication_date=2006"> <meta name="citation_reference" content="citation_title=Introduction; citation_author=Thomas, J.; citation_author=Thomas, Joël; citation_publication_date=1998; citation_inbook=Introduction aux méthodologies de l’imaginaire; citation_firstpage=15; citation_lastpage=21"> <meta name="citation_reference" content="citation_title=Intellectual property challenges in Africa: Indigenous knowledge systems and the fate of connected worlds; citation_author=Thomas, P.; citation_author=Nyamnjoh, F.; citation_author=Mazonde, Isaac; citation_author=Thomas, Pradip; citation_publication_date=2007; citation_inbook=Indigenous Knowledge Systems and Intellectual Property in the Twenty-First Century: Perspectives from Southern Africa; citation_firstpage=12; citation_lastpage=25"> <meta name="citation_reference" content="citation_title=Music, folk and traditional; citation_author=Titon, T. J.; citation_author=Bauman, Richard; citation_publication_date=1992; citation_inbook=Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook; citation_firstpage=167; citation_lastpage=171"> <meta name="citation_reference" content="citation_title=Masque errant?; citation_author=Toulabor, C.; citation_publication_date=1993; citation_journal_title=Politique africaine; citation_volume=51; citation_firstpage=3; citation_lastpage=6"> <meta name="citation_reference" content="citation_title=La civilisation quotidienne en Côte d’Ivoire: Procès d’occidentalisation; citation_author=Touré, A.; citation_publication_date=1981"> <meta name="citation_reference" content="citation_title=La distribution cinématographique en Côte d’Ivoire; citation_author=Traoré, R.; citation_publication_date=1986; citation_journal_title=Communication Audiovisuelle; citation_volume=6; citation_firstpage=195; citation_lastpage=225"> <meta name="citation_reference" content="citation_title=L’Afrique parle, l’Afrique écoute: Les radios en Afrique subsaharienne; citation_author=Tudesq, A.-J.; citation_publication_date=2002"> <meta name="citation_reference" content="citation_title=Les médias en Afrique; citation_author=Tudesq, A.-J.; citation_publication_date=1999"> <meta name="citation_reference" content="citation_title=Journaux et radios d’Afrique aux XIXe et XXe siècles; citation_author=Tudesq, A.-J.; citation_publication_date=1998"> <meta name="citation_reference" content="citation_title=The Anthropology of Performance; citation_author=Turner, V.; citation_publication_date=1988"> <meta name="citation_reference" content="citation_title=The Ritual Process: Structure and Anti-structure; citation_author=Turner, V.; citation_publication_date=1997"> <meta name="citation_reference" content="citation_title=Les rites de passage: Étude systématique des rites; citation_author=Van Gennep, A.; citation_publication_date=1909"> <meta name="citation_reference" content="citation_title=En avant la zizique; citation_author=Vian, B.; citation_publication_date=1958"> <meta name="citation_reference" content="Vidal, C., 2002, ‘Abidjan, ville-monde (1957–2000)’, Les temps modernes 2002/4–5, Nos. 620–621, pp. 463–479."> <meta name="citation_reference" content="citation_title=Sociologie des passions: Rwanda, Côte d’Ivoire; citation_author=Vidal, C.; citation_publication_date=1992"> <meta name="citation_reference" content="citation_title=Magic System: Le mystère 1er Gaou; citation_author=Vergès, G.; citation_publication_date=2018"> <meta name="citation_reference" content="citation_title=La mondialisation de la culture; citation_author=Warnier, J.-P.; citation_publication_date=2007"> <meta name="citation_reference" content="citation_title=Introduction: Six objets en quête d’authenticité; citation_author=Warnier, J.-P.; citation_author=Warnier, Jean-Pierre; citation_publication_date=1994; citation_inbook=Le paradoxe de la marchandise authentique: Imaginaire et consommation de masse; citation_firstpage=11; citation_lastpage=34"> <meta name="citation_reference" content="Waterman, C. A., 1990, ‘“Our tradition is a very modern tradition”: Popular music and the construction of Pan Yoruba identity’, Ethnomusicology, Vol. 34, No. 3 (autumn), pp. 367–379, www.jstor.org/stable/851623, accessed 26/06/2014 23:42."> <meta name="citation_reference" content="citation_title=Recent contributions to the mathematical theory of communication; citation_author=Weaver, W.; citation_author=Shannon, Claude; citation_author=Weaver, Warren; citation_publication_date=1949; citation_inbook=The Mathematical Theory of Communication; citation_firstpage=94; citation_lastpage=117"> <meta name="citation_reference" content="citation_title=Economie et société 1: Les catégories de la société; citation_author=Weber, M.; citation_publication_date=1971"> <meta name="citation_reference" content="citation_title=Anthropologie de la communication: De la théorie au terrain; citation_author=Winkin, Y.; citation_publication_date=2001"> <meta name="citation_reference" content="citation_title=L’histoire du temps présent en question; citation_author=Wolikow, S.; citation_publication_date=1998; citation_journal_title=Territoires contemporains, special; citation_volume=5; citation_firstpage=9; citation_lastpage=24"> <meta name="citation_reference" content="citation_title=Chanson et culture populaire en Côte d’Ivoire; citation_author=Wondji, C.; citation_author=Wondji, Christophe; citation_publication_date=1986; citation_inbook=La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel; citation_firstpage=11; citation_lastpage=24"> <meta name="citation_reference" content="citation_title=Le bagnon et l’art’, in La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel; citation_author=Wondji, C.; citation_author=Wondji, Christophe; citation_publication_date=1986"> <meta name="citation_reference" content="citation_title=Baraques et développement dans l’agglomération d’Abidjan; citation_author=Yapi Diahou, A.; citation_publication_date=2000"> <meta name="citation_reference" content="citation_title=Introduction à la connaissance de la poésie orale de Côte d’Ivoire; citation_author=Zadi, Z. B.; citation_publication_date=1990; citation_journal_title=Annales de l’Université d’Abidjan: Traditions orales; citation_volume=5; citation_firstpage=5; citation_lastpage=44"> <meta name="citation_reference" content="citation_title=Regard sur l’œuvre poétique de Nahounou Digbeu (Amédée Pierre); citation_author=Zadi, Z. B.; citation_publication_date=1977; citation_inbook=Bissa: Revue Littéraire Orale,"> <meta name="citation_reference" content="citation_title=Du français en Afrique au(x) français d’Afrique: Quel(s) parcours?; citation_author=Zang Zang, P.; citation_author=Floquet, Oreste; citation_publication_date=2018; citation_inbook=Aspects linguistiques et sociolinguistiques des français africains; citation_firstpage=1; citation_lastpage=20"> <meta name="citation_reference" content="Zeleza, P. T., 2005, ‘The academic diaspora and knowledge production in and on Africa: What role for CODESRIA?’, in African Intellectuals: Rethinking Politics, Language, Gender and Development. Thandika Mkandawire (Ed.), pp. 209–234. Dakar, CODESRIA/Zed Books."> <meta name="citation_reference" content="citation_title=Musique Dan: Music in the Thought and Social Life of an African Society; citation_author=Zemp, H.; citation_publication_date=1971"> <meta name="citation_reference" content="Heritage Tourism: From Problems to Possibilities Zhu, Yujie"> <meta name="citation_reference" content="Construing Cultural Heritage: The Stagings of an Artist: The Case of Ivar Arosenius Malm, Mats"> <meta name="citation_reference" content="Native Americans in British Museums: Living Histories Davy, Jack"> <meta name="citation_reference" content="Understanding Islam at European Museums Berg, Magnus and Grinell, Klas"> <meta name="citation_reference" content="Ethnographic Returns: Memory Processes and Archive Film Gustavsson, Anne"> <meta name="citation_reference" content="Global Heritage, Religion, and Secularism Rico, Trinidad"> <meta name="citation_reference" content="Heritage Making and Migrant Subjects in the Deindustrialising Region of the Latrobe Valley Dellios, Alexandra"> <meta name="citation_reference" content="Heritage and Design: Ten Portraits from Goa (India) Gupta, Pamila"> <meta name="citation_reference" content="Heritage, Education and Social Justice Apaydin, Veysel"> <meta name="citation_reference" content="Geopolitics of Digital Heritage Grincheva, Natalia and Stainforth, Elizabeth"> <meta name="citation_reference" content="Here and Now at Historic Sites: Pupils and Guides Experiencing Heritage Ludvigsson, David, Stolare, Martin and Trenter, Cecilia"> <meta name="citation_reference" content="Heritage and Transformation of an African Popular Music Bahi, Aghi"> <link rel="alternate" href="/core/elements/heritage-and-transformation-of-an-african-popular-music/E8A1EAEE4FB07A976F3F5BA276E6339C" hreflang="en" /> <link rel="icon" href="/core/cambridge-core/public/images/favicon.ico" type="image/x-icon"/> <link rel="shortcut icon" href="/core/cambridge-core/public/images/favicon.ico" type="image/x-icon"/> <link href='//fonts.googleapis.com/css?family=Noto+Sans:400,700,400italic,700italic' rel='stylesheet' type='text/css'>  <link rel="stylesheet" href="/core/cambridge-core/public/css/app.css?version=v7.337.1-hotfix"/> <link rel="dns-prefetch" href="https://usage.prod.aop.cambridge.org/v1/events"> <link rel="stylesheet" href="/core/cambridge-core/public/bower_components/font-awesome/css/font-awesome.min.css"/> <script src="/core/system/public/bower_components/jquery/dist/jquery.min.js" onerror="console.error('jQuery failed to load')"></script> <script src="/core/system/public/bower_components/jquery-migrate-3/jquery-migrate.min.js" onerror="console.error('jQuery migrate failed to load')"></script>      <script src="/core/cambridge-core/public/bower_components/modernizr/modernizr.js"></script>  <script> (function(a,s,y,n,c,h,i,d,e){s.className+=' '+y;h.start=1*new Date; h.end=i=function(){s.className=s.className.replace(RegExp(' ?'+y),'')}; (a[n]=a[n]||[]).hide=h;setTimeout(function(){i();h.end=null},c);h.timeout=c; })(window,document.documentElement,'async-hide','dataLayer',4000, {'GTM-PWNSR3B':true}); (function(i,s,o,g,r,a,m){i['GoogleAnalyticsObject']=r;i[r]=i[r]||function(){ (i[r].q=i[r].q||[]).push(arguments)},i[r].l=1*new Date();a=s.createElement(o), m=s.getElementsByTagName(o)[0];a.async=1;a.src=g;m.parentNode.insertBefore(a,m) })(window,document,'script','https://www.google-analytics.com/analytics.js','ga'); ga('create', 'UA-86516288-1', 'auto'); ga('require', 'GTM-PWNSR3B'); ga('send', 'pageview'); </script>   <script>(function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start': new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0], j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.src= 'https://www.googletagmanager.com/gtm.js?id='+i+dl; f.parentNode.insertBefore(j,f); })(window,document,'script','dataLayer','GTM-NTX72TG');</script>   <script type="text/javascript"> var rumMOKey='bd7888531793d453d3bdf2268eea537b'; (function(){ if(window.performance && window.performance.timing && window.performance.navigation) { var site24x7_rum_beacon=document.createElement('script'); site24x7_rum_beacon.async=true; site24x7_rum_beacon.setAttribute('src','//static.site24x7rum.eu/beacon/site24x7rum-min.js?appKey='+rumMOKey); document.getElementsByTagName('head')[0].appendChild(site24x7_rum_beacon); } })(window) </script>  <script> var AOP = AOP || {}; AOP.uiLanguage = '' || 'en'; AOP.uiLanguageSuggested = ''; AOP.leaveTranslationSuggested = ''; AOP.isMultilanguageEnabled = ''; AOP.clientSideMultilingualString = '%5B%7B%22_id%22%3A%225a7c10d5ab0af516063aca2c%22%2C%22name%22%3A%22Cambridge%20University%20Press%20content%20sharing%20policy%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22Cambridge%20University%20Press%20content%20sharing%20policy.%22%2C%22fr%22%3A%22la%20politique%20de%20Cambridge%20University%20Press%20sur%20le%20partage%20(en%20anglais).%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9f6%22%2C%22name%22%3A%22reply%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Article%20eLetters%20tab%22%2C%22category%22%3A%22button%20label%22%2C%22en%22%3A%22reply%22%2C%22fr%22%3A%22r%C3%A9ponse%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063aca29%22%2C%22name%22%3A%22Share%20content%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Share%20content%22%2C%22fr%22%3A%22Partager%20cet%20article%22%7D%2C%7B%22_id%22%3A%225b714525e54e3d290be053d6%22%2C%22name%22%3A%22To%20manage%20your%20alert%20preferences%20and%20update%20your%20details%20go%20to%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22%22%2C%22category%22%3A%22%22%2C%22en%22%3A%22To%20manage%20your%20alert%20preferences%20and%20update%20your%20details%20go%20to%22%2C%22fr%22%3A%22Pour%20g%C3%A9rer%20vos%20pr%C3%A9ferences%20d'alerte%20ou%20mettre%20%C3%A0%20jour%20vos%20details%20veuillez%20svp%20vous%20rendre%20sur%20la%20page%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9f5%22%2C%22name%22%3A%22replies%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Article%20eLetters%20tab%22%2C%22category%22%3A%22button%20label%22%2C%22en%22%3A%22replies%22%2C%22fr%22%3A%22r%C3%A9ponses%22%7D%2C%7B%22_id%22%3A%225b754bedf620e6600be6863d%22%2C%22name%22%3A%22For%20more%20information%2C%20please%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22For%20more%20information%2C%20please%22%2C%22fr%22%3A%22Pour%20plus%20d'information%2C%20veuillez-vous%22%7D%2C%7B%22_id%22%3A%225bb361659f569ab5071836a2%22%2C%22name%22%3A%22April%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22dates%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22April%22%2C%22fr%22%3A%22Avril%22%7D%2C%7B%22_id%22%3A%225bb361659f569ab5071836a3%22%2C%22name%22%3A%22May%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22dates%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22May%22%2C%22fr%22%3A%22Mai%22%7D%2C%7B%22_id%22%3A%225bb361659f569ab5071836aa%22%2C%22name%22%3A%22December%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22dates%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22December%22%2C%22fr%22%3A%22D%C3%A9cembre%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9d6%22%2C%22name%22%3A%22Sep%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Metrics%20tab%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Sep%22%2C%22fr%22%3A%22Sep.%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9d4%22%2C%22name%22%3A%22Jul%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Metrics%20tab%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Jul%22%2C%22fr%22%3A%22Juil.%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9db%22%2C%22name%22%3A%22Show%20fewer%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Refine%20listing%20options%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Show%20fewer%22%2C%22fr%22%3A%22Afficher%20moins%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9e3%22%2C%22name%22%3A%22Citation%20Tools%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Export%20citation%20modal%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Citation%20Tools%22%2C%22fr%22%3A%22Outils%20bibliographiques%22%7D%2C%7B%22_id%22%3A%225b754bedf620e6600be6863b%22%2C%22name%22%3A%22Alternatively%20you%20can%20download%20a%20PDF%20containing%20the%20link%20which%20can%20be%20freely%20shared%20online%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22Alternatively%20you%20can%20download%20a%20PDF%20containing%20the%20link%20which%20can%20be%20freely%20shared%20online%22%2C%22fr%22%3A%22Vous%20pouvez%20aussi%20t%C3%A9l%C3%A9charger%20le%20PDF%20contenant%20ce%20lien%20et%20le%20partager%20librement%20en%20ligne%22%7D%2C%7B%22_id%22%3A%225bb361659f569ab5071836a7%22%2C%22name%22%3A%22September%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22dates%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22September%22%2C%22fr%22%3A%22Septembre%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac94c%22%2C%22name%22%3A%22Selected%20format%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Export%20citation%20modal%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Selected%20format%22%2C%22fr%22%3A%22Format%20s%C3%A9lectionn%C3%A9%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063aca2a%22%2C%22name%22%3A%22Copy%20and%20paste%20the%20content%20link%20or%20use%20the%20option%20below%20to%20share%20it%20via%20email%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22Copy%20and%20paste%20the%20content%20link%20or%20use%20the%20option%20below%20to%20share%20it%20via%20email%22%2C%22fr%22%3A%22Copiez-collez%20ce%20lien%20ou%20cliquez%20le%20bouton%20ci-dessous%20pour%20envoyer%20un%20email%20contenant%20le%20lien%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9e9%22%2C%22name%22%3A%22Delete%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Recommend%20to%20librarian%20modal%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Delete%22%2C%22fr%22%3A%22Supprimer%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9cd%22%2C%22name%22%3A%22decline%20option%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22%22%2C%22category%22%3A%22%22%2C%22en%22%3A%22No%20thanks%22%2C%22fr%22%3A%22Non%20merci%20(view%20site%20in%20English)%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9d3%22%2C%22name%22%3A%22Jun%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Metrics%20tab%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Jun%22%2C%22fr%22%3A%22Juin%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9e2%22%2C%22name%22%3A%22View%20Altmetric%20attention%20score%20details%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Article%20entry%22%2C%22category%22%3A%22alt%20text%22%2C%22en%22%3A%22View%20Altmetric%20attention%20score%20details%22%2C%22fr%22%3A%22Voir%20le%20d%C3%A9tail%20du%20score%20d'attention%20Altmetric%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9d8%22%2C%22name%22%3A%22Nov%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Metrics%20tab%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Nov%22%2C%22fr%22%3A%22Nov.%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9dd%22%2C%22name%22%3A%22Page%2FArticle%20number%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Sorting%20options%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Page%2FArticle%20number%22%2C%22fr%22%3A%22Page%2Fnum%C3%A9ro%20d%E2%80%99article%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9d5%22%2C%22name%22%3A%22Aug%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Metrics%20tab%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Aug%22%2C%22fr%22%3A%22Ao%C3%BBt%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9c5%22%2C%22name%22%3A%22Collapse%20list%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22%22%2C%22category%22%3A%22%22%2C%22en%22%3A%22Collapse%20list%22%2C%22fr%22%3A%22Replier%20la%20liste%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9e0%22%2C%22name%22%3A%22Online%20publication%20date%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Sorting%20options%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Online%20publication%20date%22%2C%22fr%22%3A%22Date%20de%20publication%20en%20ligne%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9f1%22%2C%22name%22%3A%22Show%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Article%20eLetters%20tab%22%2C%22category%22%3A%22button%20label%22%2C%22en%22%3A%22Show%22%2C%22fr%22%3A%22Afficher%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063aca30%22%2C%22name%22%3A%22The%20content%20link%20has%20been%20copied%20to%20your%20clipboard%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20view%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22The%20content%20link%20has%20been%20copied%20to%20your%20clipboard%22%2C%22fr%22%3A%22Le%20lien%20a%20%C3%A9t%C3%A9%20copi%C3%A9%20dans%20votre%20presse-papier%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9e5%22%2C%22name%22%3A%22Hide%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Article%20entry%22%2C%22category%22%3A%22label%20with%20hyperlink%22%2C%22en%22%3A%22Hide%22%2C%22fr%22%3A%22Dissimuler%22%7D%2C%7B%22_id%22%3A%225b754bedf620e6600be6863f%22%2C%22name%22%3A%22Share%20this%20link%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22Share%20this%20link%22%2C%22fr%22%3A%22Partager%20ce%20lien%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9c6%22%2C%22name%22%3A%22Expand%20full%20list%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22%22%2C%22category%22%3A%22%22%2C%22en%22%3A%22Expand%20full%20list%22%2C%22fr%22%3A%22D%C3%A9plier%20la%20liste%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9da%22%2C%22name%22%3A%22Show%20more%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Refine%20listing%20options%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Show%20more%22%2C%22fr%22%3A%22Afficher%20plus%22%7D%2C%7B%22_id%22%3A%225b754bedf620e6600be68642%22%2C%22name%22%3A%22Within%20PDF%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22Within%20PDF%22%2C%22fr%22%3A%22Par%20PDF%22%7D%2C%7B%22_id%22%3A%225bb361659f569ab5071836a0%22%2C%22name%22%3A%22February%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22dates%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22February%22%2C%22fr%22%3A%22F%C3%A9vrier%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac94b%22%2C%22name%22%3A%22Copy%20and%20paste%20a%20formatted%20citation%20or%20use%20one%20of%20the%20options%20to%20export%20in%20your%20chosen%20format%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Export%20citation%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22Copy%20and%20paste%20a%20formatted%20citation%20or%20use%20one%20of%20the%20options%20to%20export%20in%20your%20chosen%20format%22%2C%22fr%22%3A%22Copiez-collez%20la%20citation%20ou%20utilisez%20une%20des%20options%20ci-dessous%20pour%20l'exporter%20dans%20le%20format%20de%20votre%20choix%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac94e%22%2C%22name%22%3A%22Copy%20to%20clipboard%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Export%20citation%20modal%22%2C%22category%22%3A%22button%20label%22%2C%22en%22%3A%22Copy%20to%20clipboard%22%2C%22fr%22%3A%22Copier%20dans%20le%20presse-papier%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9df%22%2C%22name%22%3A%22Type%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Sorting%20options%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Type%22%2C%22fr%22%3A%22Type%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9cf%22%2C%22name%22%3A%22Feb%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Metrics%20tab%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Feb%22%2C%22fr%22%3A%22F%C3%A9v.%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9c8%22%2C%22name%22%3A%22Hide%20all%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22%22%2C%22category%22%3A%22%22%2C%22en%22%3A%22Hide%20All%22%2C%22fr%22%3A%22Dissimuler%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9e6%22%2C%22name%22%3A%22Search%20journal%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22contextual%20search%22%2C%22category%22%3A%22searchbox%20placeholder%20text%22%2C%22en%22%3A%22Search%20%3CJnlTitle%3E%22%2C%22fr%22%3A%22Chercher%20dans%20%3CJnlTitle%3E%22%7D%2C%7B%22_id%22%3A%225b754bedf620e6600be6863a%22%2C%22name%22%3A%22Copy%20and%20paste%20the%20link%20or%20use%20the%20option%20below%20to%20share%20it%20via%20email%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22Copy%20and%20paste%20the%20link%20or%20use%20the%20option%20below%20to%20share%20it%20via%20email%22%2C%22fr%22%3A%22Pour%20cela%2C%20copiez-collez%20ce%20lien%20ou%20bien%20utilisez%20l'option%20ci-dessous%20pour%20le%20partager%20par%20email%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9d1%22%2C%22name%22%3A%22Apr%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Metrics%20tab%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Apr%22%2C%22fr%22%3A%22Avr.%22%7D%2C%7B%22_id%22%3A%225b754bedf620e6600be68640%22%2C%22name%22%3A%22Via%20email%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22Via%20email%22%2C%22fr%22%3A%22Par%20email%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9d0%22%2C%22name%22%3A%22Mar%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Metrics%20tab%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Mar%22%2C%22fr%22%3A%22Mars%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9cb%22%2C%22name%22%3A%22close%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22%22%2C%22category%22%3A%22%22%2C%22en%22%3A%22Close%22%2C%22fr%22%3A%22Fermer%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9ca%22%2C%22name%22%3A%22leaving%20language%20prompt%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22%22%2C%22category%22%3A%22%22%2C%22en%22%3A%22%3Cp%3EThe%20%3Clang%3E%20version%20of%20Cambridge%20Core%20is%20not%20currently%20available%20through%20the%20entire%20site.%20The%20page%20you%20are%20visiting%20is%20not%20available%20in%20%3Clang%3E%20and%20will%20be%20displayed%20in%20English.%3C%2Fp%3E%22%2C%22fr%22%3A%22%3Cp%3ELa%20version%20fran%C3%A7aise%20de%20Cambridge%20Core%20n'est%20actuellement%20pas%20disponible%20%C3%A0%20travers%20l'int%C3%A9gralit%C3%A9%20du%20site.%20La%20page%20vers%20laquelle%20vous%20vous%20rendez%20n'est%20pas%20disponible%20en%20fran%C3%A7ais%20et%20sera%20affich%C3%A9e%20en%20anglais.%3C%2Fp%3E%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9c7%22%2C%22name%22%3A%22View%20all%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22%22%2C%22category%22%3A%22%22%2C%22en%22%3A%22View%20All%22%2C%22fr%22%3A%22Voir%20tout%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063aca2b%22%2C%22name%22%3A%22Anyone%20you%20share%20the%20following%20link%20with%20will%20be%20able%20to%20freely%20read%20this%20content.%20For%20more%20information%2C%20please%20view%20the%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22Anyone%20you%20share%20the%20following%20link%20with%20will%20be%20able%20to%20freely%20read%20this%20content.%20For%20more%20information%2C%20please%20view%20the%22%2C%22fr%22%3A%22Tous%20ceux%20avec%20qui%20vous%20partagez%20ce%20lien%20obtiendront%20un%20acc%C3%A8s%20gratuit%20%C3%A0%20cet%20article.%20Pour%20plus%20d'information%2C%20veuillez%20svp%20consulter%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9e8%22%2C%22name%22%3A%22Relevance%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Sorting%20options%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Relevance%22%2C%22fr%22%3A%22Pertinence%22%7D%2C%7B%22_id%22%3A%225bb361659f569ab5071836a6%22%2C%22name%22%3A%22August%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22dates%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22August%22%2C%22fr%22%3A%22Ao%C3%BBt%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9d2%22%2C%22name%22%3A%22May%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Metrics%20tab%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22May%22%2C%22fr%22%3A%22Mai%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9dc%22%2C%22name%22%3A%22Sorted%20by%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Sorting%20options%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Sorted%20by%22%2C%22fr%22%3A%22Tri%20par%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9e1%22%2C%22name%22%3A%22Publication%20date%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Sorting%20options%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Publication%20date%22%2C%22fr%22%3A%22Date%20de%20publication%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9c9%22%2C%22name%22%3A%22language%20prompt%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22%22%2C%22category%22%3A%22%22%2C%22en%22%3A%22%3Cp%3EWe%20notice%20that%20%3Clang%3E%20is%20the%20default%20language%20in%20your%20browser%20settings.%20Would%20you%20like%20to%20view%20this%20site%20in%20%3Clang%3E%3F%3C%2Fp%3E%22%2C%22fr%22%3A%22%3Cp%3EVotre%20navigateur%20indique%20le%20fran%C3%A7ais%20comme%20langue%20par%20defaut.%20Souhaitez%20vous%20consulter%20le%20site%20en%20fran%C3%A7ais%3F%3C%2Fp%3E%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9ea%22%2C%22name%22%3A%22Access%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Refine%20listing%20options%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Access%22%2C%22fr%22%3A%22Acc%C3%A8s%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9f8%22%2C%22name%22%3A%22Hide%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Article%20eLetters%20tab%22%2C%22category%22%3A%22button%20label%22%2C%22en%22%3A%22Hide%22%2C%22fr%22%3A%22Dissimuler%22%7D%2C%7B%22_id%22%3A%225b754bedf620e6600be6863c%22%2C%22name%22%3A%22For%20more%20information%2C%20please%20view%20our%20content%20sharing%20policy%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22For%20more%20information%2C%20please%20view%20our%20content%20sharing%20policy%22%2C%22fr%22%3A%22Pour%20plus%20d'information%2C%20veuillez-vous%20r%C3%A9f%C3%A9rer%20%C3%A0%20notre%20politique%20de%20partage%20de%20contenus%22%7D%2C%7B%22_id%22%3A%225b754bedf620e6600be6863e%22%2C%22name%22%3A%22view%20our%20content%20sharing%20policy%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22view%20our%20content%20sharing%20policy%22%2C%22fr%22%3A%22r%C3%A9f%C3%A9rer%20%C3%A0%20notre%20politique%20de%20partage%20de%20contenus%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9ce%22%2C%22name%22%3A%22Jan%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Metrics%20tab%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Jan%22%2C%22fr%22%3A%22Jan%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063aca2e%22%2C%22name%22%3A%22Share%20via%20email%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Share%20via%20email%22%2C%22fr%22%3A%22Partager%20par%20e-mail%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063aca2d%22%2C%22name%22%3A%22OR%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22OR%22%2C%22fr%22%3A%22OU%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac94d%22%2C%22name%22%3A%22Change%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Export%20citation%20modal%22%2C%22category%22%3A%22button%20label%22%2C%22en%22%3A%22Change%22%2C%22fr%22%3A%22Modifier%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac94f%22%2C%22name%22%3A%22Download%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Export%20citation%20modal%22%2C%22category%22%3A%22button%20label%22%2C%22en%22%3A%22Download%22%2C%22fr%22%3A%22T%C3%A9l%C3%A9charger%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063aca2f%22%2C%22name%22%3A%22Cancel%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22button%20label%22%2C%22en%22%3A%22Cancel%22%2C%22fr%22%3A%22Annuler%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9e4%22%2C%22name%22%3A%22View%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Article%20entry%22%2C%22category%22%3A%22label%20with%20hyperlink%22%2C%22en%22%3A%22View%22%2C%22fr%22%3A%22Voir%22%7D%2C%7B%22_id%22%3A%225b754bedf620e6600be68639%22%2C%22name%22%3A%22Anyone%20you%20share%20the%20following%20link%20with%20will%20be%20able%20to%20freely%20read%20this%20content%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22Anyone%20you%20share%20the%20following%20link%20with%20will%20be%20able%20to%20freely%20read%20this%20content%22%2C%22fr%22%3A%22%EF%BB%BFToute%20personne%20avec%20qui%20vous%20partagez%20le%20lien%20suivant%20pourra%20acc%C3%A9der%20gratuitement%20%C3%A0%20cet%20article%22%7D%2C%7B%22_id%22%3A%225b754bedf620e6600be68641%22%2C%22name%22%3A%22Within%20PDF%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Share%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22Within%20PDF%22%2C%22fr%22%3A%22Par%20PDF%22%7D%2C%7B%22_id%22%3A%225bb361659f569ab5071836a8%22%2C%22name%22%3A%22October%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22dates%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22October%22%2C%22fr%22%3A%22Octobre%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9cc%22%2C%22name%22%3A%22accept%20option%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22%22%2C%22category%22%3A%22%22%2C%22en%22%3A%22Yes%2C%20please%20switch%20to%20%3Clang%3E%22%2C%22fr%22%3A%22Oui%2C%20voir%20le%20site%20en%20fran%C3%A7ais%22%7D%2C%7B%22_id%22%3A%225b714525e54e3d290be053d5%22%2C%22name%22%3A%22If%20you%20have%20any%20queries%20about%20this%20please%20contact%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22%22%2C%22category%22%3A%22%22%2C%22en%22%3A%22If%20you%20have%20any%20queries%20about%20this%20please%20contact%22%2C%22fr%22%3A%22Pour%20toutes%20questions%20veuillez%20svp%20contacter%22%7D%2C%7B%22_id%22%3A%225bb361659f569ab50718369f%22%2C%22name%22%3A%22January%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22dates%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22January%22%2C%22fr%22%3A%22Janvier%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9de%22%2C%22name%22%3A%22Title%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Sorting%20options%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Title%22%2C%22fr%22%3A%22Titre%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9d9%22%2C%22name%22%3A%22Dec%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Metrics%20tab%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Dec%22%2C%22fr%22%3A%22D%C3%A9c.%22%7D%2C%7B%22_id%22%3A%225b714525e54e3d290be053d4%22%2C%22name%22%3A%22This%20alert%20has%20been%20successfully%20added.%20Our%20records%20show%20that%20there%20is%20an%20error%20with%20the%20email%20address%20you%20have%20provided%20and%20therefore%20we%20are%20currently%20unable%20to%20send%20content%20alerts%20to%20you.%20The%20email%20address%20we%20are%20attempting%20to%20send%20your%20alerts%20to%20is%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22%22%2C%22category%22%3A%22%22%2C%22en%22%3A%22This%20alert%20has%20been%20successfully%20added.%20Our%20records%20show%20that%20there%20is%20an%20error%20with%20the%20email%20address%20you%20have%20provided%20and%20therefore%20we%20are%20currently%20unable%20to%20send%20content%20alerts%20to%20you.%20The%20email%20address%20we%20are%20attempting%20to%20send%20your%20alerts%20to%20is%22%2C%22fr%22%3A%22Alerte%20ajout%C3%A9e%20avec%20succ%C3%A8s.%20D%C3%BB%20a%20un%20probl%C3%A8me%20avec%20votre%20adresse%20e-mail%20nous%20ne%20sommes%20actuellement%20pas%20en%20mesure%20de%20vous%20envoyer%20des%20alertes%20par%20e-mail.%20L'adresse%20e-mail%20%C3%A0%20laquelle%20nous%20n'arrivons%20pas%20%C3%A0%20envoyer%20les%20alertes%20est%22%7D%2C%7B%22_id%22%3A%225bb361659f569ab5071836a9%22%2C%22name%22%3A%22November%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22dates%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22November%22%2C%22fr%22%3A%22Novembre%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac950%22%2C%22name%22%3A%22Export%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Export%20citation%20modal%22%2C%22category%22%3A%22button%20label%22%2C%22en%22%3A%22Export%22%2C%22fr%22%3A%22Exporter%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9d7%22%2C%22name%22%3A%22Oct%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Metrics%20tab%22%2C%22category%22%3A%22label%22%2C%22en%22%3A%22Oct%22%2C%22fr%22%3A%22Oct.%22%7D%2C%7B%22_id%22%3A%225a7c10d5ab0af516063ac9e7%22%2C%22name%22%3A%22Search%20society%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22contextual%20search%22%2C%22category%22%3A%22searchbox%20placeholder%20text%22%2C%22en%22%3A%22Search%20%3CSocietyName%3E%22%2C%22fr%22%3A%22Rechercher%20dans%20%3CSocietyName%3E%22%7D%2C%7B%22_id%22%3A%225bb361659f569ab5071836a1%22%2C%22name%22%3A%22March%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22dates%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22March%22%2C%22fr%22%3A%22Mars%22%7D%2C%7B%22_id%22%3A%225bb361659f569ab5071836a4%22%2C%22name%22%3A%22June%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22dates%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22June%22%2C%22fr%22%3A%22Juin%22%7D%2C%7B%22_id%22%3A%225bb361659f569ab5071836a5%22%2C%22name%22%3A%22July%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22dates%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22July%22%2C%22fr%22%3A%22Juillet%22%7D%2C%7B%22_id%22%3A%226568350e9421515f267b9929%22%2C%22name%22%3A%22Copy%20and%20paste%20a%20formatted%20citation%20or%20download%20in%20your%20chosen%20format%22%2C%22area%22%3A%22Client%20side%22%2C%22element%22%3A%22Export%20citation%20modal%22%2C%22category%22%3A%22text%22%2C%22en%22%3A%22Copy%20and%20paste%20a%20formatted%20citation%20or%20download%20in%20your%20chosen%20format%22%2C%22fr%22%3A%22Copiez%20et%20collez%20la%20citation%20format%C3%A9e%20ou%20t%C3%A9l%C3%A9chargez-la%20dans%20le%20format%20de%20votre%20choix%22%7D%5D'; </script> <script type="text/javascript"> function handleImageError(element) { const $element = $(element); $element.css('pointer-events', 'none'); $element.attr('tabindex', '-1'); } </script> <meta name="shareaholic:site_id" content="b60ec523a5bee2ad04c630bf0d3aa388" /> <link rel="preload" href="https://cdn.shareaholic.net/assets/pub/shareaholic.js" as="script" /> <script data-cfasync="false" async="true" src="https://cdn.shareaholic.net/assets/pub/shareaholic.js"></script> <script> $(document).ready(function () { AOP.loadScript(AOP.baseUrl + '/cambridge-core/public/js/a11y-1.0.40.min.js', function () { if(!window.cambridgeA11y) { console.error('cambridgeA11y not loaded') return } const { ShareaholicAccessibilityHandler, FocusTrapKeydownHandler } = window.cambridgeA11y new ShareaholicAccessibilityHandler(new FocusTrapKeydownHandler()).fixAccessibilityForShareaholicModal(); }) }) </script> <script type="text/javascript"> var AOP = AOP || {}; AOP.focusTrap = function (modalId, firstFocusableElement) { var modalElement = document.getElementById(modalId) modalElement.removeAttribute('tabindex') if (!modalElement) { return; } // Get all focusable elements inside the modal var focusableElements = Array.from(modalElement.querySelectorAll( 'a[href], area[href], input:not([disabled]):not([type="hidden"]), select:not([disabled]), textarea:not([disabled]), button:not([disabled]), [tabindex="0"]' )) focusableElements = focusableElements.filter(el => { const ancestorElement = el.offsetParent || el.parentElement const visibleElement = el.style.visibility !== 'hidden' return ancestorElement && visibleElement }) if (!focusableElements) { return; } var firstFocusable = firstFocusableElement || focusableElements[0] var lastFocusable = focusableElements[focusableElements.length - 1] var TAB_KEY_CODE = 'Tab' firstFocusable.focus() $(firstFocusable).on('keydown', function (event) { var isTabPressed = event.key === TAB_KEY_CODE if (!isTabPressed) { return } if (event.shiftKey) { event.preventDefault() lastFocusable.focus() } }) $(`#${modalId}`).on('keydown', function (event) { var isTabPressed = event.key === TAB_KEY_CODE if (!isTabPressed) { return } if (event.shiftKey) { if (document.activeElement === firstFocusable || document.activeElement === modalElement) { event.preventDefault() lastFocusable.focus() } } else { if (document.activeElement === lastFocusable || document.activeElement === modalElement) { event.preventDefault() firstFocusable.focus() } } }) } </script></head> <body> <header>  <noscript><iframe src="https://www.googletagmanager.com/ns.html?id=GTM-NTX72TG" height="0" width="0" style="display:none;visibility:hidden" sandbox="allow-scripts"></iframe></noscript>  <a class="skiptocontent" href="#maincontent"> Skip to main content </a> <a class="skiptocontent" href="/core/accessibility"> Accessibility help </a> <div class="cookie-message"> <div class="row"> <div class="small-11 columns"> <p>We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to <a href="https://www.cambridge.org/about-us/legal-notices/cookies-policy/" target="_blank">manage your cookie settings</a>.</p> </div> <div class="small-1 columns"> <a href="#" onclick="closeMessage();" class="cookie-close">   <img alt = "Close cookie message" title = "Close cookie message" src = "/core/cambridge-core/public/images/icn_circle__btn_close_white.svg">  </a> </div> </div> </div> <script> var cookieMessage = $('.cookie-message'); var cookieName = 'EULAW'; var closeMessage = function () { $.cookie(cookieName, true, {expires: 365, path:'/'}); cookieMessage.slideUp().promise().done(function () { cookieMessage.remove(); }); }; $(document).ready(function () { if ($.cookie(cookieName) !== 'true') { cookieMessage.slideDown(); } }); </script> <div id="login-modal" class="reveal-modal small" data-reveal role="dialog" aria-labelledby="loginModalHeader"> <div class="header"> <h2 class="heading_07 margin-bottom" id="loginModalHeader">Login Alert</h2> </div> <div class="wrapper large-margin-top-for-small-only"> <div class="row margin-top"> <div class="large-12 columns"> <div class="panel callout message"></div> </div> </div> <div class="row margin-top"> <div class="small-6 large-6 columns"><a href="#" onclick="$('#login-modal').foundation('reveal', 'close');return false;" class="right small button radius transparent cancel">Cancel</a></div> <div class="small-6 large-6 columns"> <a href="/core/login?ref=/core/elements/heritage-and-transformation-of-an-african-popular-music/E8A1EAEE4FB07A976F3F5BA276E6339C" class="left small radius button blue confirm login">Log in</a> </div> </div> <a href="#" class="close-reveal-modal" aria-label="Close login notification"><span aria-hidden="true">×</span></a> </div> </div> <div id="multilingual-suggestion-modal" class="reveal-modal small" data-reveal> <div class="wrapper large-margin-top-for-small-only"> <div class="row margin-top"> <div class="large-12 columns"> <div id="multilingual-suggestion-modal-message" class="panel callout message"></div> </div> </div> <div class="row margin-top"> <div class="small-6 large-6 columns"><a id="multilingual-suggestion-modal-decline-option" href="#" class="right small button radius transparent cancel"></a></div> <div class="small-6 large-6 columns"> <a id="multilingual-suggestion-modal-accept-option" href="#" class="left small radius button blue confirm login"></a> </div> </div> <a class="close-reveal-modal">×</a> </div> </div> <div class="global-header-wrapper"> <div class="global-header-spacer"></div> <div id="global-header" class="global-header"> <div class="__shared-elements-html ShEl"><div class="__shared-elements-head"> <link rel="stylesheet" href="/aca/shared-elements/_nuxt/entry.BhGMTrWu.css"> <link rel="prefetch" as="style" href="/aca/shared-elements/_nuxt/error-404.B06nACMW.css"> <link rel="prefetch" as="style" href="/aca/shared-elements/_nuxt/error-500.WGRfNq7F.css"> </div><div class="__shared-elements-body"><div id="__sharedElements-cp3r0a"><div class="shared-elements"><div class="gh-headerContainer"><div class="gh-globalHeader"><div class="gh-logoContainer"><a href="https://www.cambridge.org/academic" class="gh-cup-logo"><svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" width="149" height="30" viewbox="0 0 149 30" fill="none" aria-label="Homepage Cambridge University Press" class="gh-logo" data-v-7c4b1471><g clip-path="url(#A)" data-v-7c4b1471><g class="B" data-v-7c4b1471><path d="M147.065 1.786l.036 2.785-.445.114c-.1-1.217-.376-2.211-2.324-2.211h-2.618v5.147h2.247c1.103 0 1.402-.616 1.527-1.679h.447v4.304l-.446.007c-.069-1.029-.311-1.829-1.518-1.829h-2.257v4.52c0 1.314 1.133 1.314 2.332 1.314 2.151 0 3.149-.135 3.75-2.31l.441.098-.602 2.901h-9.774v-.482h.186c.75 0 1.443-.14 1.443-1.162V3.43c0-1.022-.693-1.163-1.443-1.163h-.186v-.481h9.204zm-53.267 0h-5.895v.481h.26c.486 0 1.388 0 1.388 1.525v9.569c0 .815-.748 1.104-1.388 1.104h-.26v.482h5.724v-.482h-.261c-.932 0-1.591-.115-1.591-1.6V8.766h1.454l3.918 6.18h3.371v-.492c-.889-.048-1.311-.356-1.828-1.153l-3.23-4.915.085-.035c1.152-.466 2.615-1.414 2.615-3.286 0-2.207-1.447-3.28-4.363-3.28zm-.749.536c1.685 0 2.804 1.123 2.804 2.858 0 2.138-.903 3.051-2.953 3.051h-1.125l.001-5.826a8.87 8.87 0 0 1 1.273-.083zm13.772-.539h-5.501v.481h.186c.751 0 1.443.142 1.443 1.163V13.3c0 1.021-.692 1.162-1.443 1.162h-.186v.481h5.501v-.481h-.186c-.75 0-1.444-.14-1.444-1.162V3.427c0-1.021.694-1.163 1.444-1.163h.186v-.481zM31.488 8.355c0 4.435 2.709 6.939 6.956 6.939 2.089 0 3.924-.818 5.112-2.354l-.345-.644c-1.055 1.355-2.452 2.089-4.412 2.089-3.487 0-4.927-3.074-4.927-6.324 0-3.652 1.781-5.919 4.647-5.919 2.79 0 3.616 1.617 4.112 3.383l.433-.056-.139-3.046c-1.373-.641-2.776-.945-4.46-.945-1.88 0-3.545.638-4.814 1.775-1.367 1.224-2.162 3.146-2.162 5.102zM59.883 4.33l4.761 10.706h.397l4.553-10.921.401 8.416.019.944c0 .893-.643.931-1.533.984l-.036.002v.475h5.464v-.475c-1.008-.038-1.544-.13-1.622-1.151l-.509-8.729c-.112-1.86.151-2.32 1.632-2.32h.07l.001-.485h-3.654l-4.231 9.975-4.472-9.974h-3.727v.479h.152c1.046 0 1.669.644 1.602 1.779l-.516 8.32c-.069 1.215-.161 2.046-1.657 2.106h-.169v.478h4.439v-.478h-.113c-1.21-.045-1.768-.203-1.689-2.003l.437-8.128zm55.196 10.61c1.826 0 3.63-.436 4.919-1.712 1.28-1.27 2.015-3.056 2.015-4.9 0-1.974-.668-3.636-1.93-4.81-1.28-1.191-3.113-1.741-5.301-1.741l-5.887.005v.482h.187c.749 0 1.443.141 1.443 1.162v9.871c0 1.023-.694 1.163-1.443 1.163h-.187v.483l6.184-.004zM114.1 2.349c3.704 0 5.505 1.986 5.505 6.347 0 2.806-1.514 5.669-4.841 5.669-1.413 0-2.003-.225-2.003-1.621l.001-10.334a17.99 17.99 0 0 1 1.338-.062zm19.119 11.918c-.493.224-1.326.347-2.132.33-3.496 0-5.062-3.303-5.062-6.636 0-3.628 1.855-5.882 4.914-5.882 2.267 0 3.277.887 3.823 3.15l.441-.028-.209-3.141c-1.018-.34-2.623-.651-4.184-.651-3.487 0-7.192 2.112-7.192 6.746 0 4.357 2.81 7.173 7.156 7.173 1.801 0 3.422-.307 4.63-.695l.002-3.592c0-.706.374-1.079 1.082-1.079h.153v-.47h-5.062v.47h.154c.973 0 1.487.374 1.487 1.079l-.001 3.226zM80.916 8.129c2.063 0 3.294 1.147 3.294 3.168 0 1.797-1.21 3.117-2.814 3.117-1.336 0-1.746-.368-1.746-1.654V8.129h1.265zm-.073-5.86c1.733 0 2.612.865 2.612 2.723 0 1.682-.999 2.562-2.813 2.562h-.991V2.269h1.192zm1.507 5.51c1.616-.261 3.451-1.032 3.451-3.117 0-1.883-1.511-2.878-4.256-2.878l-5.846.003v.481h.261c.484 0 1.387 0 1.387 1.524v9.548c0 .817-.748 1.121-1.387 1.121h-.261v.477l6.451.001c2.463 0 4.358-1.655 4.358-3.72 0-.866-.303-1.609-.877-2.195-.742-.759-1.624-1.124-3.281-1.245zM50.387 1.784l4.289 11.418c.318.903.783 1.258 1.463 1.258h.04l-.001.486H51.08v-.486h.116c.991 0 1.38-.415 1.082-1.327L51.24 10.24h-4.149l-.956 2.654c-.42 1.245.237 1.553 1.201 1.553h.174l.001.494h-4.008l.002-.494h.045c.811 0 1.358-.498 1.668-1.305 0-.001 4.18-11.36 4.18-11.36l.992.002zm-3.065 7.81h3.684l-1.84-5.127-1.845 5.127zM32.257 20.335c.66 0 .829.18.829.672v4.573c0 1.56 1.153 2.449 3.111 2.449 1.982 0 3.063-1.02 3.063-2.677v-4.141c0-.744.18-.876.793-.876v-.348l-1.093.024a30.18 30.18 0 0 1-1.237-.024v.348c.625.012.925.012.925 1.116v3.997c0 1.272-.757 2.077-2.102 2.077-1.333 0-2.054-.84-2.054-2.089v-4.43c0-.612.264-.672.781-.672h.084v-.348l-1.573.024c-.409 0-.841-.012-1.526-.024v.348zm9.028 0c.829.024 1.237.312 1.237.732v5.33c0 .78-.252 1.056-1.177 1.068v.348l1.429-.024a43.1 43.1 0 0 1 1.453.024v-.348h-.048c-.877 0-1.165-.336-1.165-1.128v-4.982l5.909 6.686h.312v-6.578c0-.6.216-1.128.853-1.128h.264v-.348l-1.429.024c-.288 0-.757-.012-1.393-.024v.348c.853 0 1.213.192 1.213 1.14v4.189l-5.045-5.678-1.081.024c-.432 0-.877-.012-1.333-.024v.348h0zm13.441 7.13c-.685-.012-.853-.12-.853-.66v-5.678c0-.672.168-.792.877-.792v-.348l-1.501.024c-.564 0-1.177-.012-1.633-.024v.348c.673 0 .865.18.865.696v5.462c0 .78-.168.972-.901.972v.348c.36-.012.709-.024 1.622-.024a56.45 56.45 0 0 1 1.525.024v-.348h0zm1.293-7.13c.601.012.829.072.973.432l2.931 7.238h.372l2.739-6.878c.132-.336.216-.492.288-.588.096-.12.18-.204.444-.204h.072v-.348l-1.057.024c-.325 0-.565-.012-1.057-.024v.348c.517.012.853.012.853.3 0 .144-.06.336-.156.6L60.631 26l-1.886-4.681c-.144-.348-.18-.528-.18-.66 0-.312.324-.312.829-.324v-.348l-1.742.024c-.541 0-.973-.012-1.633-.024v.348h0zm8.959 0c.877 0 1.009.084 1.009.744v5.642c0 .54-.132.732-1.009.744v.348l2.774-.024 3.375.012.42-1.789h-.312c-.204.552-.336.78-.468.924a1.14 1.14 0 0 1-.589.312c-.252.06-.709.096-1.381.096-.541 0-.865-.048-1.069-.156-.216-.108-.325-.312-.325-.732V23.96h1.55c.492 0 .829.156.829.816v.192l.3-.06c-.012-.324-.036-.648-.036-1.428l.012-.996h-.3c0 .708-.192.948-.877.948h-1.478v-2.977l1.502-.036c.829 0 1.021.084 1.201.24.168.156.288.348.372 1.02l.312-.12c-.036-.456-.048-.9-.048-1.116 0-.156.012-.348.012-.456l-3.231.024c-.853 0-1.694-.012-2.546-.024v.348h0zm7.686 0h.06c.745 0 .937.108.937.792v5.522c0 .612-.144.816-.949.816h-.06v.348a76.17 76.17 0 0 1 1.778-.024l1.682.024v-.348h-.084c-.757 0-.961-.192-.961-.624V24.14h.757l.588 1.068a22.31 22.31 0 0 0 .697 1.092l.672 1.032c.264.408.409.48.613.48.252 0 .793-.024 1.189-.024.276 0 .516.012.817.024v-.348a1.26 1.26 0 0 1-.913-.336c-.228-.204-.516-.552-.841-1.044L77.18 23.9c1.057-.396 1.621-1.044 1.621-1.957 0-1.26-.961-1.957-2.895-1.957l-1.982.024c-.288 0-.757-.012-1.261-.024v.348h0zm2.402.084c.192-.06.421-.084.613-.084 1.057 0 1.681.6 1.681 1.753 0 .828-.36 1.224-.673 1.416-.24.144-.516.228-.961.228h-.661v-3.313zm9.104-.624c-1.501 0-2.534.888-2.534 2.317 0 1.188.757 1.813 1.814 2.341.865.432 1.609.804 1.609 1.693 0 .66-.492 1.404-1.526 1.404-1.057 0-1.501-.684-1.826-1.765l-.3.048c.036.156.096.648.168 1.62.697.324 1.297.504 1.994.504 1.417 0 2.654-.876 2.654-2.317 0-.936-.48-1.704-1.802-2.389-1.153-.6-1.694-.936-1.694-1.68 0-.6.444-1.369 1.465-1.369.757 0 1.177.42 1.369 1.332l.312-.036c-.06-.504-.12-1.092-.12-1.549l-.757-.084c-.432-.048-.697-.072-.829-.072zm6.391 7.671c-.685-.012-.853-.12-.853-.66v-5.678c0-.672.168-.792.877-.792v-.348l-1.502.024c-.564 0-1.177-.012-1.633-.024v.348c.673 0 .865.18.865.696v5.462c0 .78-.168.972-.901.972v.348c.36-.012.709-.024 1.621-.024a56.9 56.9 0 0 1 1.525.024v-.348zm1.517-5.966c.144-.792.409-1.044 1.333-1.044h1.633v6.002c0 .936-.192 1.008-.901 1.008h-.156v.348l1.79-.024 1.766.024v-.348c-.865-.012-1.105-.156-1.105-.864v-6.146h1.67c.432 0 .721.072.865.216.132.132.204.264.24.9l.276-.108c0-.408 0-.852.144-1.789l-.204-.096c-.18.3-.288.396-.673.396h-5.933c-.348 0-.529-.132-.613-.396h-.252a10.45 10.45 0 0 1-.216 1.921h.336zm8.746-1.164c.433 0 .745.048.913.276l2.558 3.469v2.653c0 .672-.216.72-1.045.732v.348l1.826-.024 1.694.024v-.348c-.853 0-1.057-.144-1.057-.624v-3.085l2.126-2.977c.252-.348.504-.444.828-.444v-.348l-1.045.024c-.252 0-.672-.012-1.213-.024v.348c.493.012.793.024.793.24 0 .12-.144.348-.24.492l-1.477 2.221-1.73-2.329c-.156-.216-.18-.324-.18-.384 0-.204.288-.228.624-.24v-.348l-1.693.024c-.565 0-.889-.012-1.682-.024v.348zm14.689.036c.12-.012.36-.036.636-.036 1.405 0 1.453 1.729 1.453 1.981 0 1.116-.492 1.717-1.465 1.717h-.06v.312h.18c1.393 0 1.874-.408 2.198-.744.264-.276.565-.768.565-1.488 0-1.236-.805-2.125-2.607-2.125l-1.717.024c-.385 0-.985-.012-1.442-.024v.348c.565 0 .853.036.853.708v5.63c0 .672-.24.792-.865.792v.348l1.586-.024 1.838.024v-.348c-.649 0-1.154 0-1.154-.756l.001-6.338zm4.466-.036h.06c.744 0 .937.108.937.792v5.522c0 .612-.145.816-.949.816h-.06v.348c.42-.012 1.225-.024 1.777-.024l1.682.024v-.348h-.084c-.757 0-.961-.192-.961-.624V24.14h.757l.588 1.068c.216.372.529.84.697 1.092l.672 1.032c.265.408.409.48.613.48.252 0 .793-.024 1.189-.024.276 0 .517.012.817.024v-.348a1.26 1.26 0 0 1-.913-.336c-.228-.204-.516-.552-.841-1.044l-1.465-2.185c1.057-.396 1.621-1.044 1.621-1.957 0-1.26-.96-1.957-2.894-1.957l-1.982.024c-.288 0-.757-.012-1.261-.024v.348h0zm2.402.084a2.15 2.15 0 0 1 .613-.084c1.057 0 1.681.6 1.681 1.753 0 .828-.36 1.224-.673 1.416-.24.144-.516.228-.96.228h-.661V20.42zm6.516-.084c.877 0 1.009.084 1.009.744v5.642c0 .54-.132.732-1.009.744v.348l2.775-.024 3.375.012.42-1.789h-.312c-.204.552-.336.78-.469.924-.144.144-.3.24-.588.312-.252.06-.709.096-1.381.096-.541 0-.865-.048-1.069-.156-.217-.108-.325-.312-.325-.732V23.96h1.55c.492 0 .828.156.828.816v.192l.301-.06c-.012-.324-.036-.648-.036-1.428l.012-.996h-.301c0 .708-.192.948-.876.948h-1.478v-2.977l1.502-.036c.828 0 1.021.084 1.201.24.168.156.288.348.372 1.02l.312-.12c-.036-.456-.048-.9-.048-1.116 0-.156.012-.348.012-.456l-3.231.024c-.852 0-1.693-.012-2.546-.024v.348zm10.51-.54c-1.501 0-2.534.888-2.534 2.317 0 1.188.757 1.813 1.813 2.341.865.432 1.61.804 1.61 1.693 0 .66-.492 1.404-1.526 1.404-1.056 0-1.501-.684-1.825-1.765l-.3.048c.036.156.096.648.168 1.62.696.324 1.297.504 1.994.504 1.417 0 2.654-.876 2.654-2.317 0-.936-.481-1.704-1.802-2.389-1.153-.6-1.693-.936-1.693-1.68 0-.6.444-1.369 1.465-1.369.757 0 1.177.42 1.369 1.332l.313-.036c-.06-.504-.12-1.092-.12-1.549l-.757-.084c-.432-.048-.697-.072-.829-.072zm6.233 0c-1.501 0-2.534.888-2.534 2.317 0 1.188.757 1.813 1.813 2.341.865.432 1.61.804 1.61 1.693 0 .66-.493 1.404-1.526 1.404-1.056 0-1.501-.684-1.825-1.765l-.3.048c.036.156.096.648.168 1.62.696.324 1.297.504 1.994.504 1.417 0 2.654-.876 2.654-2.317 0-.936-.48-1.704-1.802-2.389-1.153-.6-1.693-.936-1.693-1.68 0-.6.444-1.369 1.465-1.369.757 0 1.177.42 1.369 1.332l.313-.036c-.06-.504-.12-1.092-.12-1.549l-.757-.084c-.432-.048-.697-.072-.829-.072zM0 0v15.599c0 7.67 4.03 9.859 5.967 10.911.356.193 6.333 3.162 6.715 3.352l.258.138.257-.137 6.716-3.352C21.85 25.459 25.88 23.27 25.88 15.6V0H0z" data-v-7c4b1471></path></g><path d="M12.939 29.365l2.633-1.309V15.762h9.746l.001-.163V10.5h-9.747V.559h-5.266V10.5H.559v5.099l.001.163h9.746v12.294l2.633 1.309z" fill="#fff" data-v-7c4b1471></path><g fill="#e73337" data-v-7c4b1471><path d="M.559.559h9.747V10.5H.559V.559zm15.015 0h9.747V10.5h-9.747V.559zm-5.269 15.205H.559c.056 7.126 3.712 9.191 5.674 10.256.199.108 2.281 1.146 4.073 2.038V15.764zm5.269 0v12.294l4.073-2.038c1.961-1.065 5.618-3.13 5.673-10.256h-9.746z" data-v-7c4b1471></path></g><g class="B" data-v-7c4b1471><path d="M19.073 13.234l.201-.239-.254-.302-.255.302.202.239c.003.12.01 1.175-.611 1.552 0 0 .207.04.486-.014a3.1 3.1 0 0 0 .179.588c.13-.313.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm1.59-1.791l.201-.239-.254-.302-.255.302.202.239c.003.121.011 1.175-.611 1.551 0 0 .207.04.486-.014a3.09 3.09 0 0 0 .179.588c.13-.314.179-.588.179-.588.278.053.486.014.486.014-.622-.377-.614-1.431-.611-1.551zm1.586 1.791l.201-.239-.254-.302-.254.302.201.239c.003.12.01 1.175-.612 1.552 0 0 .207.04.486-.014a3.07 3.07 0 0 0 .179.588c.13-.313.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm1.586-1.791l.201-.239-.254-.302-.254.302.201.239c.003.121.011 1.175-.611 1.551 0 0 .207.04.485-.014a3.11 3.11 0 0 0 .179.588c.131-.314.179-.588.179-.588.278.053.485.014.485.014-.622-.377-.614-1.431-.611-1.551zm-6.348 0l.201-.239-.255-.302-.254.302.201.239c.003.121.011 1.175-.611 1.551 0 0 .207.04.486-.014a3.11 3.11 0 0 0 .179.588c.13-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.551zM3.733 13.234l.201-.239-.254-.302-.254.302.201.239c.003.12.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.07 3.07 0 0 0 .179.588c.13-.313.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.615-1.431-.611-1.552zm1.59-1.791l.201-.239-.254-.302-.254.302.201.239c.003.121.011 1.175-.612 1.551 0 0 .207.04.486-.014 0 0 .048.275.178.588.131-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm1.586 1.791l.201-.239-.254-.302-.255.302.202.239c.003.12.01 1.175-.611 1.552 0 0 .207.04.485-.014a3.07 3.07 0 0 0 .179.588c.13-.313.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm1.586-1.791l.201-.239-.254-.302-.254.302.201.239c.003.121.011 1.175-.611 1.551 0 0 .207.04.485-.014 0 0 .049.274.179.588.13-.314.179-.588.179-.588.278.053.486.014.486.014-.622-.377-.614-1.431-.611-1.551zm-6.348 0l.202-.239-.255-.302-.254.302.201.239c.003.121.011 1.175-.611 1.551 0 0 .207.04.486-.014a3.12 3.12 0 0 0 .179.588c.131-.314.179-.588.179-.588.278.054.485.014.485.014-.622-.377-.614-1.431-.611-1.551zm10.844 5.803l.201-.239-.254-.302-.254.302.202.239c.003.121.01 1.175-.612 1.551 0 0 .207.04.486-.014a3.07 3.07 0 0 0 .179.588c.13-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.615-1.431-.611-1.551zm0 5.387l.201-.239-.254-.302-.254.302.202.239c.003.12.01 1.175-.612 1.552 0 0 .207.04.486-.014a3.07 3.07 0 0 0 .179.588c.13-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.615-1.431-.611-1.552zm1.48-2.694l.202-.239-.255-.302-.254.302.201.239c.003.121.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.11 3.11 0 0 0 .178.589c.131-.314.179-.589.179-.589.278.054.485.014.485.014-.622-.377-.614-1.431-.611-1.552zm-2.957 0l.202-.239-.255-.302-.254.302.201.239c.003.121.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.09 3.09 0 0 0 .179.589c.131-.314.179-.589.179-.589.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm2.957 5.387l.202-.239-.255-.302-.254.302.201.239c.003.121.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.11 3.11 0 0 0 .178.588c.131-.314.179-.588.179-.588.278.054.485.014.485.014-.622-.377-.614-1.431-.611-1.552zm-2.957 0l.202-.239-.255-.302-.254.302.201.239c.003.121.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.07 3.07 0 0 0 .179.588c.131-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm1.477-20.59l.201-.239-.254-.302-.254.302.202.239c.003.12.01 1.175-.612 1.552 0 0 .207.04.486-.014a3.12 3.12 0 0 0 .179.588c.13-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.615-1.431-.611-1.552zm1.48-2.693l.202-.239-.255-.302-.254.302.201.239c.003.12.011 1.175-.611 1.552 0 0 .207.04.486-.014 0 0 .048.275.178.588.131-.314.179-.588.179-.588.278.054.485.014.485.014-.622-.377-.614-1.431-.611-1.552zm-2.957 0l.202-.239-.255-.302-.254.302.201.239c.003.12.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.13 3.13 0 0 0 .179.588c.131-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm2.957 5.387l.202-.239-.255-.302-.254.302.201.239c.003.12.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.1 3.1 0 0 0 .178.588c.131-.314.179-.588.179-.588.278.054.485.014.485.014-.622-.377-.614-1.431-.611-1.552zm-2.957 0l.202-.239-.255-.302-.254.302.201.239c.003.12.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.07 3.07 0 0 0 .179.588c.131-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm11.221 13.502c.144.19.346.314.512.314a1.06 1.06 0 0 0 .223-.034.43.43 0 0 1 .11-.016c.04 0 .057.015.057.052a.56.56 0 0 1-.043.155c-.026.062-.043.112-.049.148l-.033.173-.083.148-.115.107-.033.034v.074.037c0 .202-.06.316-.223.425-.013.008-.033.022-.058.041l-.017.067-.082.288a1.73 1.73 0 0 1-.157.231c-.1.131-.165.237-.206.338-.034.083-.06.107-.114.107-.081 0-.162-.102-.176-.222a.42.42 0 0 1-.041.05l-.098.066-.158.107-.131.099-.091.091c-.016.016-.033.025-.047.025-.042 0-.085-.071-.126-.207l-.082-.271c-.022-.073-.034-.163-.034-.267 0-.137.009-.185.058-.295-.165.017-.212.027-.297.058a.29.29 0 0 1-.072.016c-.027 0-.044-.019-.044-.051a.51.51 0 0 1 .033-.122l.108-.28a.7.7 0 0 1 .566-.416.72.72 0 0 1 .211.044.45.45 0 0 0 .125.026c.096 0 .172-.07.172-.158 0-.044-.029-.091-.066-.108-.014-.007-.113-.037-.297-.091-.139-.041-.208-.092-.364-.273-.113-.131-.158-.168-.199-.168-.032 0-.049.021-.049.058l.008.11.003.051c0 .229-.068.448-.234.75l-.232.42c-.11.2-.157.352-.157.504 0 .166.072.313.165.339l.124.032a.09.09 0 0 1 .041.026c.011.013.026.034.026.047s-.015.046-.042.076c-.015.016-.064.08-.149.189-.142.186-.232.253-.405.305-.1.242-.263.383-.554.479l-.033.057c-.098.174-.317.331-.456.331h-.032c-.018.151-.126.308-.289.421l-.19.139a.34.34 0 0 0-.041.075c-.037.082-.072.116-.118.116-.088 0-.161-.082-.212-.24l-.075.049-.157.107c-.038.018-.135.047-.289.083-.203.047-.378.133-.422.207l-.074.123-.034.014c-.04 0-.087-.057-.107-.13a2.03 2.03 0 0 1-.075-.464c0-.293.097-.484.397-.783l-.001-.071c0-.456.348-.765.86-.765l.083.002.281.017.026.001c.152 0 .292-.058.444-.183.202-.165.261-.266.261-.451 0-.059-.016-.126-.079-.333a1.34 1.34 0 0 1-.061-.388c0-.341.25-.765.59-.999.087-.061.152-.141.152-.187 0-.019-.01-.034-.023-.034-.022 0-.059.023-.105.064-.04.036-.107.078-.198.125l-.132.066-.149.058c-.046.017-.069.042-.069.073 0 .018.007.044.019.075s.016.047.016.061-.014.052-.042.096l-.115.19c-.113.186-.195.266-.339.33-.093.272-.226.41-.421.438-.156.314-.294.423-.57.454-.038.121-.105.221-.248.38-.059.064-.095.109-.107.132-.065.116-.07.123-.1.123-.038 0-.124-.057-.189-.123a.5.5 0 0 1-.074-.1l-.075-.132c-.024-.043-.049-.062-.08-.062l-.053.003-.182.025a.58.58 0 0 0-.331.19l-.099.149c-.01.015-.025.024-.039.024-.074 0-.119-.163-.119-.433 0-.237.036-.395.118-.508l.231-.322c.032-.045.05-.089.05-.126a.17.17 0 0 0-.041-.106c-.049-.058-.096-.093-.132-.099l-.174-.024c-.031-.005-.044-.012-.044-.026s.009-.034.027-.057a.79.79 0 0 1 .207-.182c.205-.125.339-.174.477-.174a.81.81 0 0 1 .432.142l.239.157c.034.023.074.034.115.034.111 0 .194-.066.272-.215.076-.144.109-.26.109-.383a.51.51 0 0 0-.53-.534c-.143 0-.29.056-.43.165-.042.033-.07.064-.083.091l-.066.149c-.015.036-.039.057-.059.057-.042 0-.135-.119-.213-.272-.041-.08-.08-.179-.115-.298-.049-.161-.071-.282-.071-.412l.012-.224a.83.83 0 0 1-.149-.511.92.92 0 0 1 .059-.29.61.61 0 0 1-.091-.368l.008-.103.025-.115.017-.099c-.08-.104-.102-.174-.182-.536-.044-.205-.071-.294-.106-.347-.017-.023-.025-.041-.025-.05 0-.048.115-.092.247-.092l.116.009c-.029-.076-.035-.106-.035-.166a1.03 1.03 0 0 1 .06-.329c.044-.126.053-.161.053-.202 0-.098-.015-.197-.036-.252l-.066-.165a.23.23 0 0 1-.021-.085c0-.017.011-.023.041-.023.162 0 .472.175.715.405s.32.413.32.752l-.014.181c.225.197.323.36.323.537 0 .129-.042.215-.166.337-.223.222-.273.337-.273.622 0 .438.131.675.373.675.213 0 .377-.231.404-.57l.025-.314a3.22 3.22 0 0 1 .041-.297c.014-.075.025-.174.025-.215 0-.111-.073-.252-.29-.504-.232-.271-.31-.417-.31-.629 0-.254.176-.44.414-.44.059 0 .089.009.16.045.003-.144.01-.17.091-.372.064-.159.133-.272.165-.272.011 0 .028.012.049.033a.86.86 0 0 0 .108.09l.083.058a.75.75 0 0 1 .074.075c.051-.185.104-.272.256-.421.116-.113.159-.148.181-.148s.038.015.059.041l.099.131.14.158c.054.059.073.111.099.255l.082-.049.132-.074a.97.97 0 0 0 .1-.066c.022-.016.041-.026.052-.026s.029.024.039.059l.049.19.108.215c.032.064.042.114.042.212v.052l.055-.002c.163 0 .303.192.303.414 0 .294-.235.674-.54.876-.028.099-.035.139-.035.219 0 .657.173.794 1.183.945a5.56 5.56 0 0 1 .677.14l.653.215c.223.074.373.107.489.107.123 0 .191-.035.191-.1 0-.113-.165-.214-.672-.412l-.719-.28c-.731-.286-1.076-.731-1.076-1.388 0-.764.574-1.338 1.34-1.338.289 0 .57.06.976.207l.605.198c.101 0 .156-.069.171-.214.013-.124.047-.174.115-.174.101 0 .212.094.29.248.068.134.107.291.107.428a.47.47 0 0 1-.405.504.8.8 0 0 1-.665.342c-.329 0-.492-.065-1.054-.416-.201-.126-.287-.157-.434-.157-.197 0-.343.122-.343.287 0 .151.122.251.397.324.164.043.188.055.273.14.066-.016.096-.02.137-.02.268 0 .599.145.879.384.509.157.962.706.962 1.167 0 .509-.441.965-.935.965a3.37 3.37 0 0 1-.639-.102z" data-v-7c4b1471></path></g><g class="C" data-v-7c4b1471><path d="M22.437 23.219l.033-.091.033-.116c.006-.021.037-.068.091-.139.084-.11.126-.249.126-.411 0-.051-.013-.098-.044-.16-.016-.032-.025-.058-.025-.076 0-.011.006-.024.017-.038s.022-.023.033-.025l.005-.001c.021 0 .057.024.085.058.035.043.066.066.084.066.037 0 .076-.063.098-.157l.017-.083c0-.04-.033-.144-.074-.231-.016-.033-.024-.061-.024-.084 0-.029.019-.053.046-.053s.063.026.11.07c.023.022.045.034.063.034.052 0 .089-.053.128-.182l.033-.129c0-.024-.01-.038-.029-.038l-.029.002-.098.01c-.151 0-.364-.104-.464-.224l-.231-.281-.206-.273-.19-.124c-.031-.02-.049-.045-.049-.067 0-.031.031-.052.079-.052s.179.048.425.152a2.58 2.58 0 0 0 .837.183c.395 0 .721-.319.721-.707 0-.212-.095-.408-.327-.681-.043-.051-.118-.101-.153-.101-.027 0-.046.02-.046.049a.26.26 0 0 0 .025.093c.01.026.016.052.016.076 0 .038-.014.06-.039.06-.052 0-.106-.085-.151-.234-.055-.184-.162-.294-.414-.421a.89.89 0 0 0-.261-.093c-.016 0-.027.014-.027.036 0 .031.012.065.033.098a.41.41 0 0 1 .067.158v.008c0 .032-.016.05-.046.05-.053 0-.065-.014-.186-.199-.062-.095-.228-.22-.372-.281-.045-.019-.093-.031-.14-.033h-.005c-.03 0-.053.014-.053.032 0 .007.013.033.037.076l.012.047c0 .025-.017.045-.039.045-.05 0-.203-.126-.324-.265-.131-.151-.215-.343-.215-.494 0-.316.302-.596.64-.596.085 0 .157.015.212.042l.289.149.339.224c.195.127.462.223.624.223.06 0 .106-.008.26-.051.081-.022.131-.054.131-.084l-.003-.007-.029-.017-.182-.016c-.101-.01-.33-.113-.512-.232l-.38-.247-.338-.141c-.026-.01-.042-.027-.042-.043s.018-.031.039-.031c0 0 .032.006.094.017l.314.091c.079.022.206.081.38.173.344.183.569.264.734.264.191 0 .331-.131.331-.309 0-.06-.013-.157-.032-.236a.33.33 0 0 0-.05-.107c-.014-.021-.03-.032-.041-.032-.024 0-.037.025-.037.067l.004.057.003.048c0 .152-.059.206-.228.206-.137 0-.322-.055-.742-.222-.394-.155-.64-.214-.884-.214-.622 0-1.167.507-1.167 1.085 0 .499.332.882 1.011 1.161l.702.289c.581.239.794.41.794.636 0 .188-.175.309-.448.309-.118 0-.265-.032-.536-.119-.657-.209-1.085-.296-1.461-.296-.613 0-1.049.168-1.398.536-.046.049-.073.063-.114.063-.028 0-.056-.011-.118-.047a.4.4 0 0 0-.181-.059c-.06 0-.154.052-.198.109l-.082.107c-.024.031-.051.05-.073.05-.06 0-.166-.102-.232-.224-.041-.074-.069-.147-.082-.215-.011-.052-.017-.137-.017-.226l.008-.153.025-.165.025-.141c.006-.02.022-.033.04-.033.043 0 .062.039.062.129l-.002.052-.002.037c0 .235.093.45.196.45.081 0 .152-.144.211-.43.012-.057.035-.09.063-.09s.053.042.078.165c.015.08.068.191.124.264.032.042.066.067.094.067.068 0 .111-.101.145-.339.014-.092.041-.15.073-.15.014 0 .026.007.035.018a1.3 1.3 0 0 1 .058.091c.02.034.052.062.091.082s.074.033.096.033a.12.12 0 0 0 .077-.033c.037-.033.058-.058.058-.068s-.017-.038-.049-.073c-.054-.058-.096-.136-.149-.273L20 19.462c-.013-.03-.027-.05-.042-.058l-.026-.007-.049.007-.173.049-.054.009c-.023 0-.039-.015-.039-.039s.03-.062.068-.092c.209-.166.333-.445.38-.851.028-.247.06-.34.165-.487.022-.031.041-.049.052-.049.032 0 .05.025.05.073 0 .032-.009.072-.027.117a.29.29 0 0 0-.018.1l.001.031.017.05.091-.033.099-.115a.61.61 0 0 0 .109-.338c0-.079-.019-.134-.066-.19-.052-.062-.088-.087-.126-.087l-.056.004-.059.004c-.053 0-.08-.016-.08-.049l.014-.063.009-.091-.049-.206-.041-.1-.025-.083-.058.041-.124.074c-.032.019-.066.05-.1.091-.117.142-.125.149-.172.149-.03 0-.047-.011-.047-.031l.005-.035a.85.85 0 0 0 .025-.171c0-.144-.105-.361-.231-.481-.173.165-.265.346-.265.521v.099c0 .038-.012.057-.038.057h-.003c-.021-.003-.041-.019-.058-.041l-.099-.132a1.33 1.33 0 0 0-.133-.108l-.066-.057-.033.066c-.082.164-.11.262-.115.397-.004.11-.013.142-.039.142-.013 0-.03-.006-.052-.019-.125-.07-.137-.075-.191-.075-.149 0-.25.106-.25.263 0 .061.035.154.103.275.076.135.189.258.239.258.014 0 .017-.01.017-.051v-.017l-.008-.14-.017-.108-.001-.014c0-.032.012-.046.037-.046.075 0 .14.219.195.655.048.384.154.648.322.801.043.039.067.071.067.089s-.015.026-.033.026c-.024 0-.062-.015-.108-.041a.18.18 0 0 0-.09-.026c-.083 0-.175.096-.191.2l-.075.47-.058.661c-.011.125.006.293.05.495.038.178.058.309.058.391 0 .495-.308.886-.818 1.037l-.529.156c-.329.098-.491.315-.537.718.085-.067.111-.078.24-.098l.156-.025a.43.43 0 0 0 .141-.041c.015-.009.045-.04.091-.091l.14-.156c.053-.06.101-.094.13-.094.02 0 .035.022.035.048s-.02.078-.058.136-.06.135-.06.213c0 .105.028.172.135.324.013-.05.024-.083.033-.099a1.69 1.69 0 0 1 .124-.173c.114-.148.197-.302.198-.372.002-.128.014-.169.046-.169s.033.006.045.079c.003.018.012.035.025.05.019.021.038.033.05.033s.033-.012.066-.033c.057-.038.101-.077.132-.116s.062-.093.082-.149c.028-.072.042-.125.042-.156l-.001-.107c0-.028.012-.051.027-.051s.062.043.089.091c.018.032.03.042.053.042h.005c.03-.003.056-.015.074-.034.101-.098.166-.219.166-.31l-.009-.152-.033-.125-.002-.011c0-.026.019-.048.04-.048.037 0 .078.053.135.174.026.057.051.084.075.084.039 0 .07-.029.148-.142l.074-.107c.016-.024.025-.052.025-.083s-.009-.057-.025-.081l-.067-.099c-.011-.017-.016-.045-.016-.083a.81.81 0 0 1 .124-.388l.107-.207c.013-.034.027-.05.046-.05s.028.02.028.041l-.008.091v.066.066c.011.03.031.042.071.042.025 0 .054-.006.086-.017l.206-.075a1.42 1.42 0 0 0 .19-.091c.324-.179.424-.216.583-.216.095 0 .218.037.392.117.036.017.065.026.085.026s.05-.015.072-.042c.016-.019.024-.042.024-.063 0-.03-.011-.066-.033-.102-.026-.046-.051-.103-.051-.123s.014-.036.038-.036.047.02.062.044l.19.33c.154.274.354.464.529.504l.363.083c.113.025.141.069.141.209a.72.72 0 0 1-.331.616l-.298.191c-.108.068-.198.259-.198.416 0 .102.025.282.058.425l.058-.057.141-.083.124-.124.066-.182.066-.165c.032-.08.07-.132.096-.132s.045.045.045.126l-.001.023v.031c0 .118.015.17.107.348z" data-v-7c4b1471></path><path d="M17.543 25.575c0-.393.143-.564.712-.853 1.123-.569 1.728-1.091 1.728-1.488 0-.08-.026-.197-.1-.445a1.41 1.41 0 0 1-.071-.358c0-.183.151-.46.344-.632l.157-.14c.086-.077.15-.188.15-.261l-.001-.037-.002-.049c0-.082.032-.112.117-.116l.075-.008.064-.017c.027 0 .053.015.069.041l.041.066.058.066c.019.021.038.034.053.034s.033-.008.063-.024c.04-.022.071-.031.1-.031.043 0 .065.023.065.071 0 .166-.107.406-.298.661-.317.429-.421.66-.421.934 0 .215.062.404.182.56.021.028.033.05.033.061 0 .022-.021.059-.058.104l-.05.067c-.066.095-.11.132-.153.132-.032 0-.063-.027-.078-.067l-.033-.09c-.01-.026-.028-.043-.047-.043-.006 0-.02.014-.036.034-.021.027-.032.059-.032.091v.14c0 .056-.02.114-.058.165a.69.69 0 0 1-.116.123c-.031.027-.054.042-.065.042-.024 0-.047-.026-.059-.066l-.05-.165c-.007-.024-.024-.041-.041-.041-.028 0-.051.046-.058.116-.017.187-.049.301-.098.347l-.116.106c-.037.036-.081.061-.105.061s-.045-.011-.052-.027l-.058-.124c-.007-.015-.021-.025-.037-.025-.033 0-.058.066-.07.191-.03.297-.092.43-.256.545a.45.45 0 0 0-.206.231c-.072-.106-.1-.196-.1-.329a.3.3 0 0 1 .034-.157c.034-.062.053-.109.053-.137 0-.02-.013-.036-.03-.036-.008 0-.022.012-.041.032-.023.027-.059.055-.107.083-.149.085-.171.116-.207.281a.42.42 0 0 1-.38.371c-.28.057-.297.064-.397.158l-.01-.147zm-.534-8.514v.083l.001.122a.51.51 0 0 1-.018.134c-.027.115-.033.154-.033.187 0 .158.022.236.115.399.052.09.085.199.085.277 0 .033-.014.053-.036.053-.014 0-.029-.008-.04-.024l-.066-.091c-.053-.072-.103-.091-.237-.091l-.143.009a1.79 1.79 0 0 1 .099.289c.067.27.076.289.223.421s.161.15.161.198c0 .037-.026.067-.057.067l-.055-.008-.033-.003c-.045 0-.086.083-.086.175a.59.59 0 0 0 .053.208c.02.049.04.082.058.1l.083.082a.12.12 0 0 1 .033.085c0 .04-.023.074-.05.074a.19.19 0 0 1-.074-.027c-.021-.01-.04-.016-.058-.016-.037 0-.055.023-.055.068l.013.123.05.214c.011.048.042.102.091.158a.39.39 0 0 0 .124.099l.166.075c.016.012.024.036.024.066s-.024.058-.055.058a.7.7 0 0 1-.086-.017l-.084-.008c-.084 0-.09.005-.09.069a.52.52 0 0 0 .017.128l.033.132c.035.14.08.215.13.215.011 0 .032-.012.06-.033a1.02 1.02 0 0 1 .511-.173c.155 0 .332.019.399.041.038.013.065.02.079.02.02 0 .027-.02.028-.094l.017-.149.033-.256.024-.19v-.108l-.067.058c-.14.132-.229.173-.374.173-.38 0-.598-.427-.598-1.171 0-.307.045-.742.13-1.24.018-.105.026-.178.026-.229 0-.272-.172-.537-.472-.729z" data-v-7c4b1471></path><path d="M17.57 18.91l.074-.074.074-.067c.062-.054.111-.169.111-.254 0-.039-.008-.075-.028-.118-.029-.062-.084-.117-.117-.117-.028 0-.053.068-.064.175l-.017.124-.024.124-.009.124v.082zm-.726 3.377c.085.031.102.045.19.149.115.133.178.165.33.165a.42.42 0 0 0 .117-.016l.107-.033.083-.025c.04-.011.066-.028.066-.042s-.065-.072-.165-.139a1.59 1.59 0 0 0-.198-.116c-.071-.035-.131-.051-.189-.051-.116 0-.228.036-.339.109zm1.113 2.323c0-.266.262-.485.582-.485.16 0 .253.032.253.086 0 .042-.07.1-.223.181l-.24.132-.364.181-.008-.096zm3.363-2.003c.117-.024.157-.054.215-.057l.149.008a.48.48 0 0 0 .099-.066l.116-.082c.165-.113.174-.12.174-.156 0-.046-.067-.068-.206-.068-.26 0-.419.122-.546.422z" data-v-7c4b1471></path></g><g class="B" data-v-7c4b1471><path d="M18.827 17.58l.116.074c.066.042.121.073.165.09.128.053.174.071.174.12a.35.35 0 0 1-.017.094.51.51 0 0 0-.025.116c-.012.112-.08.141-.125.141-.056 0-.114-.086-.206-.248a1.91 1.91 0 0 1-.132-.33l-.005-.032c0-.02.012-.032.036-.032l.018.006z" data-v-7c4b1471></path><path d="M19.942 17.868l-.19.191c-.067.089-.067.167-.083.182s-.032.021-.058.025l-.012.001c-.048 0-.084-.035-.087-.083l-.008-.14-.009-.141v-.008c0-.054.03-.083.073-.092l.176-.049.181-.091c.053-.026.069-.033.078-.033.021 0 .039.022.039.048 0 .012-.006.03-.018.052l-.083.139z" data-v-7c4b1471></path><path d="M19.105 18.431l.124.092a.22.22 0 0 0 .111.028.51.51 0 0 0 .195-.053l.108-.049c.025-.011.047-.018.064-.018.066 0 .118.07.118.157 0 .122-.088.247-.216.429l-.09.191c-.072.103-.12.14-.179.14-.098 0-.146-.056-.293-.348-.106-.208-.149-.336-.149-.438 0-.087.045-.148.111-.148.027 0 .06-.006.096.016z" data-v-7c4b1471></path></g><path d="M19.216 18.884l.008.157c.004.071.063.142.12.142.076 0 .131-.115.16-.29l.019-.115c0-.061-.02-.077-.098-.077l-.044.002h-.058l-.037-.002c-.052 0-.072.04-.072.145l.002.038z" class="C" data-v-7c4b1471></path><path d="M8.359 21.057c.072.182.097.272.107.389l.016.346c.013.347.128.52.347.52.079 0 .145-.021.182-.058l.091-.091.036-.011c.058 0 .09.038.09.107l-.01.134c-.007.06.004.188.033.379a2.25 2.25 0 0 1 .025.333c0 .176-.013.244-.075.402.058.162.091.345.091.499 0 .18-.029.3-.099.402.033.142.041.199.041.28s-.011.187-.033.314c-.029.172-.041.305-.033.395l.001.021c0 .052-.016.078-.048.078s-.069-.024-.102-.066c-.05-.065-.083-.088-.121-.088-.057 0-.075.03-.16.278-.026.077-.093.18-.198.306-.082.098-.133.179-.149.24l-.049.173c-.01.022-.029.039-.05.041h-.01c-.136 0-.292-.292-.452-.842-.045-.156-.103-.225-.187-.225-.06 0-.121.04-.144.093l-.05.116c-.009.02-.026.033-.043.033-.066 0-.167-.121-.229-.273-.051-.126-.081-.263-.081-.38 0-.259.191-.452.766-.776.251-.141.348-.32.348-.643 0-.256-.077-.403-.297-.57-.175-.132-.275-.182-.368-.182-.078 0-.14.052-.14.118 0 .078.045.125.153.162.127.046.182.09.182.147s-.054.165-.141.299a.76.76 0 0 1-.264.273c-.039.227-.146.372-.397.537-.05.142-.078.193-.165.305l-.174.223a.72.72 0 0 0-.124.256c-.018.126-.03.148-.078.148-.066 0-.2-.116-.335-.289a.4.4 0 0 1-.107-.273c-.086.068-.113.077-.281.099-.101.014-.176.033-.223.059-.127.066-.168.084-.191.084-.034 0-.046-.018-.049-.076l-.008-.182c0-.249.098-.54.248-.734-.145-.125-.289-.202-.405-.215-.049-.005-.062-.011-.062-.029 0-.03.032-.095.078-.152.062-.078.111-.133.149-.165a.82.82 0 0 1 .479-.174c.107 0 .266.039.471.116.074.028.14.041.197.041.091 0 .142-.059.142-.163 0-.15-.074-.385-.241-.762-.112-.255-.163-.427-.163-.545 0-.286.135-.583.304-.668-.08-.04-.115-.05-.184-.05-.083 0-.148.021-.254.083-.122.071-.19.134-.19.176 0 .016.025.042.067.072.064.045.075.061.075.122 0 .204-.169.477-.405.654-.052.289-.185.464-.446.586-.034.157-.056.203-.182.38-.216.302-.266.399-.305.57-.02.089-.041.125-.068.125-.035 0-.108-.055-.188-.142l-.132-.158c-.035-.054-.053-.107-.091-.263-.06.017-.076.02-.118.02l-.121-.003-.083-.002c-.181 0-.373.041-.471.101-.036.022-.06.033-.072.033-.053 0-.097-.112-.097-.25 0-.298.083-.545.276-.814-.071-.059-.094-.081-.157-.148-.027-.03-.05-.05-.066-.058l-.091-.05c-.031-.017-.05-.037-.05-.054 0-.044.121-.159.264-.252.159-.102.285-.149.4-.149.135 0 .207.035.376.182.117.102.197.149.254.149.04 0 .084-.028.118-.075.028-.038.043-.08.043-.123 0-.158-.189-.424-.398-.562-.156-.102-.326-.157-.492-.157-.23 0-.428.114-.515.297l-.091.19c-.021.044-.048.067-.079.067-.053 0-.081-.024-.268-.241l-.214-.248a.66.66 0 0 1-.133-.214.49.49 0 0 0-.041-.107c-.007-.011-.036-.033-.082-.067-.166-.117-.287-.349-.356-.685l-.025-.107c-.202-.248-.323-.555-.323-.821a.36.36 0 0 1 .018-.113c-.118-.118-.131-.147-.224-.463-.066-.224-.108-.32-.19-.428-.022-.029-.033-.052-.033-.064 0-.045.069-.081.19-.101l.166-.019.165.011-.01-.226c0-.133.01-.219.044-.377a1.01 1.01 0 0 0 .025-.172 1.68 1.68 0 0 0-.017-.142.73.73 0 0 0-.024-.124c-.012-.031-.018-.055-.018-.07 0-.027.018-.041.049-.041.024 0 .058.012.109.036.144.071.263.143.355.215.285.223.509.566.509.779l-.004.065-.017.121c0 .036.02.084.058.134l.091.125c.081.11.133.238.133.324 0 .077-.016.111-.149.304-.1.144-.141.252-.141.369 0 .149.059.337.166.522.097.171.21.265.317.265.184 0 .265-.163.294-.604l.066-.627.008-.113c0-.052-.016-.082-.082-.161l-.249-.288c-.236-.276-.307-.418-.307-.616 0-.227.149-.384.365-.384l.099.009-.001-.064a.87.87 0 0 1 .042-.224c.052-.177.117-.314.151-.314.011 0 .038.013.08.041a1.22 1.22 0 0 0 .149.057.99.99 0 0 1 .164.082.73.73 0 0 1 .133-.289c.107-.138.228-.247.271-.247.026 0 .074.035.134.099l.157.165c.026.027.057.081.091.157l.033.074.099-.057.132-.075.157-.075c.042-.028.072-.043.085-.043.028 0 .043.05.105.323a1.9 1.9 0 0 1 .058.364c.264.037.388.188.388.471 0 .266-.131.531-.413.832-.077.083-.096.122-.096.199 0 .73.254.96 1.17 1.057a5.83 5.83 0 0 1 1.404.298c.355.106.559.15.691.15.156 0 .243-.057.243-.157 0-.153-.111-.201-.769-.34-1.531-.322-2.132-.845-2.132-1.854 0-.719.538-1.259 1.257-1.259.317 0 .6.097 1.048.355.416.241.502.282.597.282.111 0 .155-.071.155-.25 0-.116.035-.172.107-.172.066 0 .166.068.256.174.137.162.19.245.19.469 0 .299-.159.494-.471.58l-.074.082c-.17.192-.32.256-.59.256-.235 0-.53-.096-.732-.24l-.397-.28c-.171-.121-.296-.173-.416-.173-.169 0-.27.101-.27.27s.11.301.29.357l.372.116c.132.041.194.067.355.148l.185-.018a1.57 1.57 0 0 1 .699.174l.149.067.207.058c.469.131.851.656.851 1.168 0 .584-.379.946-.991.946l-.191-.009z" class="B" data-v-7c4b1471></path><g class="C" data-v-7c4b1471><path d="M8.218 25.961l.049-.1.116-.124a.61.61 0 0 0 .15-.427c0-.085-.015-.177-.043-.267a.67.67 0 0 1-.034-.146c0-.052.039-.102.079-.102.016 0 .039.015.062.042l.124.14c.077.087.103.103.199.124l.008-.115.008-.136a.96.96 0 0 0-.182-.558c-.066-.084-.096-.135-.096-.164s.022-.059.045-.059c.008 0 .02.006.034.017.08.059.121.084.143.084.04 0 .076-.1.076-.208a.77.77 0 0 0-.169-.461l-.099-.123c-.011-.016-.017-.032-.017-.047 0-.035.029-.061.072-.061.031 0 .05.008.102.041.024.016.047.025.063.025.064 0 .088-.09.088-.336l-.003-.102-.008-.149c-.009-.175-.025-.206-.099-.206H8.82c-.403 0-.591-.255-.695-.942-.075-.496-.26-.849-.487-.925-.136-.045-.184-.075-.184-.111 0-.023.038-.045.079-.045.03 0 .099.018.156.041.329.133.607.198.849.198.396 0 .708-.291.708-.66 0-.282-.134-.569-.376-.801a.47.47 0 0 0-.206-.124l-.016-.001-.042.014.017.119.032.083.009.034c0 .018-.017.032-.039.032s-.047-.013-.061-.034l-.149-.223c-.118-.176-.376-.323-.568-.323-.068 0-.111.03-.111.078 0 .023.022.066.05.097.042.048.075.105.075.132l-.009.033c-.009.019-.021.031-.033.033l-.008.001c-.04 0-.06-.018-.24-.223-.147-.168-.448-.332-.609-.332-.023 0-.044.01-.061.026-.01.011-.017.023-.017.032 0 .025.022.058.058.092.051.047.092.103.092.127 0 .016-.022.031-.046.031-.047 0-.153-.068-.351-.224-.308-.242-.446-.47-.446-.735 0-.319.228-.57.52-.57.171 0 .398.082.554.199l.405.305a1.07 1.07 0 0 0 .65.215c.052 0 .1-.012.143-.033.036-.018.058-.04.058-.055s-.031-.024-.075-.036c-.146-.035-.264-.085-.347-.148l-.413-.313-.323-.223c-.218-.114-.26-.141-.26-.167 0-.013.021-.024.047-.024s.047.006.073.017l.215.091a2.47 2.47 0 0 1 .347.206c.442.295.667.39.927.39.247 0 .429-.175.429-.413 0-.047-.012-.098-.034-.143l-.041-.082c-.014-.029-.041-.052-.049-.041l-.025.033-.025.174c-.001.007-.01.027-.025.058a.29.29 0 0 1-.057.082c-.045.044-.083.058-.152.058-.128 0-.271-.068-.658-.315s-.744-.379-1.024-.379A1.07 1.07 0 0 0 5.977 18c0 .827.505 1.2 2.09 1.546.603.131.868.308.868.576 0 .245-.198.399-.512.399a1.19 1.19 0 0 1-.224-.016 30.59 30.59 0 0 1-.851-.232c-.354-.098-.752-.154-1.103-.154-.622 0-1.041.185-1.326.584-.033.047-.066.075-.088.075s-.042-.012-.069-.033l-.115-.091a.56.56 0 0 0-.297-.113.26.26 0 0 0-.175.072c-.041.037-.072.057-.084.057-.046 0-.131-.104-.196-.239-.093-.193-.141-.386-.141-.562 0-.082.026-.14.062-.14.029 0 .05.022.062.066l.066.239c.037.134.112.239.169.239.025 0 .07-.036.12-.099.031-.038.053-.077.067-.116.052-.151.064-.173.105-.173.048 0 .073.03.106.181.007.028.016.07.054.142.033.062.067.113.099.149.025.027.056.042.085.042.073 0 .139-.121.139-.255l-.002-.035-.01-.153c0-.059.009-.077.043-.077.019 0 .034.01.058.04.035.046.083.085.141.115.05.027.091.041.118.041s.053-.015.08-.041.035-.044.035-.065-.03-.062-.117-.15c-.047-.048-.103-.16-.165-.33-.023-.065-.054-.109-.078-.109a.24.24 0 0 0-.054.018l-.107.041-.074.033-.028.006c-.035 0-.063-.025-.063-.057s.075-.121.166-.196c.065-.055.105-.136.107-.223.005-.139.031-.248.058-.248l.025-.289a2.98 2.98 0 0 1 .124-.569c.01-.03.023-.051.033-.051.023 0 .044.062.044.131l-.003.043-.005.084c0 .105.017.159.049.159s.077-.052.113-.143l.074-.19c.022-.056.033-.108.033-.154 0-.161-.096-.277-.23-.277l-.06.01-.058.017c-.043 0-.08-.048-.08-.104l.006-.119-.008-.165-.033-.173-.009-.083-.074.041-.091.075-.132.107-.108.091c-.019.016-.04.025-.061.025-.063 0-.071-.017-.071-.146v-.032c0-.104-.045-.185-.214-.384l-.042-.05-.032.058-.091.149-.091.231-.017.148c-.004.043-.021.076-.037.076s-.046-.022-.078-.059a.64.64 0 0 0-.355-.239l-.016.057-.05.174-.009.156v.066.053c0 .046-.017.073-.045.073l-.005-.001c-.003-.001-.019-.015-.049-.041-.019-.017-.054-.026-.1-.026-.154 0-.252.083-.252.215 0 .099.034.173.186.404.068.103.146.184.176.184.02 0 .037-.054.037-.117l-.015-.099a.41.41 0 0 1-.024-.126c0-.046.013-.071.039-.071.074 0 .151.214.183.512l.033.305a1.02 1.02 0 0 0 .099.33c.075.154.149.259.215.305.079.056.128.111.128.141s-.021.05-.044.05a5.64 5.64 0 0 1-.167-.059l-.069-.01c-.165 0-.22.094-.22.378a1.58 1.58 0 0 0 .488 1.044l.38.306c.193.154.339.411.339.595 0 .242-.265.479-.719.644l-.273.098c-.212.077-.297.214-.38.611a.68.68 0 0 1 .228-.042l.037.001.123.003c.111 0 .191-.067.191-.16v-.075c0-.022.031-.053.074-.075l.115-.058.091-.074c.014-.012.03-.019.046-.019.025 0 .045.024.045.051 0 .02-.006.046-.017.075-.028.073-.044.173-.044.284 0 .202.032.311.135.459.009-.055.018-.09.025-.107.017-.042.064-.117.141-.223.125-.175.217-.388.217-.503l-.003-.035-.025-.189c0-.034.015-.067.041-.091.018-.016.038-.024.057-.024.035 0 .057.021.085.082.019.046.043.074.059.074.029 0 .086-.076.122-.165.028-.066.041-.125.041-.175a.29.29 0 0 0-.025-.106.29.29 0 0 1-.026-.094c0-.021.007-.031.034-.055.014-.01.028-.017.042-.017s.033.007.049.017l.074.05c.025.017.048.025.066.025.033 0 .081-.037.116-.092.072-.11.117-.201.117-.235 0-.022-.014-.038-.059-.07-.164-.116-.273-.292-.273-.442 0-.035.008-.074.025-.119l.082-.223.066-.174.024-.009c.028 0 .045.023.045.064a.28.28 0 0 1-.019.094.54.54 0 0 0-.035.157c0 .059.03.091.086.091a.35.35 0 0 0 .138-.033c.25-.108.448-.166.567-.166.112 0 .182.025.3.108.031.022.058.034.076.034s.032-.013.048-.034c.01-.014.017-.029.017-.041 0-.03-.018-.069-.05-.107-.042-.052-.059-.085-.059-.117 0-.026.017-.043.044-.043.13 0 .333.41.527 1.059.152.513.195.565.685.843.415.234.573.466.573.843 0 .371-.103.846-.317 1.469-.067.197-.097.33-.097.44 0 .087.017.172.081.394l.057.19a.98.98 0 0 0 .065.124zm-1.916-1.156a1.38 1.38 0 0 1 .157-.281c.134-.201.182-.308.182-.404v-.133c0-.124.022-.182.072-.182a.05.05 0 0 1 .044.025l.042.066c.013.021.035.033.058.033s.069-.032.093-.069a.58.58 0 0 0 .096-.295l-.009-.091-.008-.093c0-.05.02-.072.068-.072.032 0 .046.013.073.075.017.04.042.066.062.066s.049-.018.069-.05l.066-.099.05-.075.012-.04c0-.023-.018-.044-.062-.076-.153-.11-.22-.28-.231-.587a2.62 2.62 0 0 0-.041-.454c-.005-.016-.054-.134-.149-.355a2.15 2.15 0 0 1-.099-.297c-.019-.076-.043-.1-.103-.1-.225 0-.394.192-.394.445 0 .149.062.384.175.67.159.401.201.544.201.686 0 .303-.121.435-.54.586-.473.169-.695.413-.777.85l.083-.033.115-.041.132-.033c.114-.028.205-.092.223-.157l.033-.115c.008-.028.024-.047.05-.058l.074-.033.074-.033.016.033-.033.107a.74.74 0 0 0-.017.192c0 .181.036.287.141.418zm-4.437-7.639l.017.093c0 .026-.011.097-.033.213l-.015.168a1.35 1.35 0 0 0 .072.435c.042.119.053.156.053.188l-.003.035c-.008.034-.02.059-.032.059s-.046-.018-.084-.052c-.095-.082-.198-.125-.305-.125a.81.81 0 0 0-.141.017l.041.091.124.306.174.264.181.125a.2.2 0 0 1 .05.049c.017.023.025.042.025.055s-.014.027-.033.028l-.166.008c-.025.001-.045.017-.045.035 0 .028.024.111.071.246l.083.24.14.132.148.108c.044.031.07.067.07.093s-.014.046-.029.047l-.082.008c-.027.003-.042.026-.042.066 0 .062.058.174.166.322.128.174.218.232.364.232h.124c.059 0 .095.029.095.076 0 .039-.025.061-.079.073-.114.024-.149.047-.149.1 0 .021.015.053.042.09l.067.091c.055.075.117.125.157.125.022 0 .074-.023.121-.076.074-.085.159-.154.268-.181.287-.073.347-.103.347-.169 0-.023-.011-.056-.033-.095-.091-.164-.124-.27-.124-.404 0-.103-.027-.175-.064-.175-.015 0-.041.025-.068.067-.068.104-.184.174-.289.174-.286 0-.631-.448-.801-1.041a1.65 1.65 0 0 1-.061-.445 2.32 2.32 0 0 1 .061-.504l.091-.405.011-.112c0-.205-.189-.468-.481-.673z" data-v-7c4b1471></path><path d="M2.46 18.315c-.061.115-.117.374-.117.538 0 .096.031.173.072.173.013 0 .03-.016.045-.041l.091-.166.059-.101c.033-.049.057-.097.057-.123 0-.098-.091-.219-.207-.28zm.907 3.723l.041.041.066.066c.161.167.185.183.263.183.072 0 .222-.041.307-.084.036-.018.058-.04.058-.057 0-.011-.03-.044-.082-.091l-.091-.083c-.069-.062-.171-.12-.22-.12-.095 0-.192.042-.342.145zm1.918 1.495a.82.82 0 0 1 .165.083l.132.082c.025.011.07.017.131.017.038 0 .072-.006.1-.017l.174-.066.165-.058c.044-.016.075-.041.075-.064 0-.012-.037-.03-.091-.043-.037-.01-.079-.023-.124-.041-.203-.082-.233-.094-.305-.094a.55.55 0 0 0-.422.201zm2.092 1.66c.055-.133.093-.155.281-.166.212-.012.414-.391.414-.648 0-.025-.009-.047-.019-.047s-.03.01-.056.027l-.123.074-.24.107c-.16.071-.301.285-.301.453a.57.57 0 0 0 .045.2z" data-v-7c4b1471></path></g><g class="B" data-v-7c4b1471><path d="M3.807 18.018l.082.116a.78.78 0 0 0 .179.129c.025 0 .038-.018.053-.071l.033-.125.009-.138c0-.109-.048-.15-.273-.208-.056-.015-.079-.013-.115-.042s-.079-.05-.099-.05-.034.01-.034.023l.009.037.041.123.116.207zm.883-.001l-.108.191-.041.045-.008.001c-.044 0-.088-.1-.091-.204l-.016-.164c.013-.068.053-.098.156-.116.084-.015.14-.031.166-.049l.132-.091.014-.003c.022 0 .038.015.038.04l-.003.011-.058.141-.182.197z" data-v-7c4b1471></path><path d="M4.474 18.579l.132-.066c.024-.012.045-.018.063-.018.064 0 .112.048.112.134 0 .094-.074.221-.175.403-.109.197-.191.331-.276.331-.119 0-.287-.189-.451-.505a.54.54 0 0 1-.063-.23c0-.104.046-.159.133-.159.036 0 .07.008.095.026l.074.05a.39.39 0 0 0 .21.066c.052 0 .101-.011.145-.033z" data-v-7c4b1471></path></g><path d="M4.384 18.761s.076.016.076.067l-.002.024-.025.123c-.027.165-.065.267-.119.267a.08.08 0 0 1-.063-.035c-.085-.12-.15-.274-.15-.358 0-.059.026-.089.079-.089l.014.001.091.016.099-.016z" class="C" data-v-7c4b1471></path><path d="M23.617 5.468l.033.124.067.264c.104.472.191.595.421.595.131 0 .24-.073.273-.182l.049-.166c.011-.038.04-.06.079-.06.09 0 .138.099.145.299.002.076.019.211.049.404.023.139.033.267.033.382 0 .084-.01.133-.049.237l.016.099c.028.163.035.227.035.303 0 .354-.017.459-.101.597.034.135.044.199.044.296a2.47 2.47 0 0 1-.027.291l-.033.248.008.148c.022.055.033.089.033.099 0 .023-.015.041-.033.041l-.165-.066-.182-.099c-.059-.032-.1-.064-.19-.148-.16.141-.183.154-.373.206-.274.076-.375.11-.429.149s-.093.057-.114.057c-.064 0-.109-.124-.109-.306 0-.264.015-.401.058-.504-.161-.054-.242-.074-.3-.074a.69.69 0 0 0-.121.016l-.037.004c-.024 0-.038-.029-.038-.079 0-.081.057-.242.133-.378.103-.184.274-.338.405-.364l.297-.057c.176-.034.281-.128.281-.251s-.077-.197-.257-.261l-.347-.124c-.117-.042-.227-.094-.331-.157l-.181-.108c-.03-.016-.062-.024-.09-.024-.073 0-.118.054-.118.141 0 .14.108.255.24.255.03 0 .058-.006.084-.017a.27.27 0 0 1 .076-.025c.038 0 .065.036.065.089a1.04 1.04 0 0 1-.19.522l-.099.124-.075.099c-.027.213-.236.517-.446.652-.051.032-.082.054-.091.066s-.029.047-.066.116c-.017.032-.073.098-.166.198a1.55 1.55 0 0 1-.206.19c-.092.07-.148.121-.165.149l-.083.141c-.017.029-.038.043-.065.043-.074 0-.142-.077-.183-.207-.03-.097-.057-.125-.12-.125a.64.64 0 0 0-.145.025l-.115.016h-.29c-.156 0-.365.038-.463.084-.037.018-.066.026-.085.026-.043 0-.064-.043-.064-.126 0-.262.202-.659.464-.916-.039-.152-.119-.254-.223-.28l-.149-.041c-.015-.008-.025-.023-.025-.039 0-.053.059-.105.19-.167.235-.111.303-.132.434-.132.15 0 .276.051.433.174.224.174.285.207.393.207.176 0 .345-.161.345-.331 0-.114-.063-.241-.218-.438-.22-.281-.298-.464-.298-.702 0-.16.032-.247.174-.478.022-.037.035-.068.035-.089 0-.045-.075-.086-.159-.086-.088 0-.198.032-.347.1-.249.114-.397.22-.397.285 0 .026.015.052.041.07l.083.058c.01.007.017.02.017.034s-.016.043-.034.064-.072.09-.165.215a1.89 1.89 0 0 1-.346.363c-.045.034-.072.062-.084.083l-.066.124c-.055.103-.218.274-.356.371l-.115.091a.75.75 0 0 0-.075.115c-.084.151-.217.338-.305.429l-.223.231c-.064.066-.154.257-.24.511-.068.2-.111.29-.142.29-.014 0-.037-.018-.064-.05-.16-.183-.305-.298-.375-.298-.018 0-.051.015-.096.042-.063.038-.138.067-.223.083l-.297.057c-.249.049-.348.102-.463.248-.029.036-.053.057-.066.057-.029 0-.051-.043-.051-.1l.008-.072c.002-.008.016-.082.042-.223.043-.235.103-.43.165-.537l.149-.256c.026-.046.041-.093.041-.133 0-.19-.178-.345-.447-.387-.055-.008-.083-.028-.083-.06 0-.038.065-.111.166-.188.175-.132.368-.215.505-.215.092 0 .215.032.379.099l.182.074a.49.49 0 0 0 .184.043c.192 0 .379-.175.609-.57.104-.18.149-.308.149-.425 0-.209-.097-.335-.26-.335-.128 0-.25.054-.351.156-.09.091-.137.182-.137.264l.005.084.003.044c0 .067-.023.097-.072.097-.062 0-.135-.061-.278-.232l-.232-.272c-.251-.294-.303-.411-.314-.711-.28-.357-.35-.555-.35-.762l.011-.17c-.201-.241-.24-.334-.24-.572 0-.107.006-.135.05-.221-.099-.145-.13-.21-.157-.322l-.041-.174a.9.9 0 0 0-.132-.305c-.074-.106-.083-.122-.083-.153 0-.086.083-.142.29-.193l.066-.017-.017-.183c0-.048.006-.094.025-.197l.058-.306c.022-.119.034-.21.034-.271 0-.07-.011-.127-.05-.257-.025-.084-.054-.148-.082-.19s-.05-.084-.05-.109.028-.05.066-.05c.02 0 .055.01.083.027.279.152.584.393.801.636.187.208.247.381.289.843.253.188.348.358.348.626 0 .159-.052.313-.166.488l-.165.256c-.049.083-.075.179-.075.279 0 .149.045.289.157.488.123.219.234.314.365.314.217 0 .413-.374.413-.786l-.002-.081v-.223l.025-.198.016-.24.016-.199.006-.11c0-.081-.017-.105-.271-.376-.28-.3-.413-.554-.413-.789 0-.222.191-.408.42-.408a.6.6 0 0 1 .175.032v-.099l.009-.174.049-.214c.04-.171.058-.203.117-.203l.041.013.149.132.181.116.05.049c.012-.103.021-.124.107-.232l.115-.157.083-.124.05-.074c.033-.05.047-.063.069-.063s.038.029.064.121c.011.037.036.075.074.107l.108.091c.087.074.145.183.181.339a.49.49 0 0 1 .165-.149l.133-.074c.049-.028.079-.042.088-.042s.023.02.037.05c.019.043.041.085.066.124.106.171.116.196.116.311v.069.099c.268.074.372.218.372.514 0 .222-.102.451-.315.707-.141.17-.165.222-.165.35 0 .582.439.935 1.181.946l.545.008a2.67 2.67 0 0 1 .901.148c.382.125.507.158.623.158.084 0 .154-.047.154-.103 0-.119-.2-.212-.868-.401-1.361-.384-1.942-.935-1.942-1.836 0-.698.583-1.237 1.336-1.237a2.88 2.88 0 0 1 .82.141l.338.124a.52.52 0 0 0 .178.035c.117 0 .161-.073.178-.291.008-.097.039-.14.101-.14.087 0 .256.136.378.306s.215.404.215.554c0 .176-.092.31-.29.421-.185.282-.413.412-.72.412-.235 0-.635-.159-1.139-.454-.198-.116-.285-.148-.395-.148-.149 0-.244.083-.244.214 0 .119.088.194.334.28.391.139.475.185.587.323.421.073.604.146.868.346.754.242 1.174.707 1.174 1.303 0 .543-.368.935-.88.935a1.59 1.59 0 0 1-.402-.049z" class="B" data-v-7c4b1471></path><g class="C" data-v-7c4b1471><path d="M24.436 9.084a.58.58 0 0 1-.026-.152l.009-.112.026-.321c0-.061-.018-.109-.06-.166l-.099-.132c-.064-.087-.09-.151-.09-.225 0-.048.011-.064.044-.064l.038.008.074.041c.034.019.062.028.083.028.05 0 .075-.077.075-.232 0-.215-.04-.318-.165-.415l-.115-.091c-.02-.016-.034-.043-.034-.067 0-.04.023-.065.061-.065.023 0 .056.007.096.017l.091.025.035.008c.028 0 .041-.022.041-.07l-.002-.029-.025-.174c-.026-.18-.056-.249-.109-.249l-.015.002-.215.041-.036.003c-.258 0-.562-.245-.641-.515l-.157-.537c-.047-.161-.187-.338-.397-.504-.069-.053-.129-.085-.173-.09l-.148-.017c-.027-.003-.045-.019-.045-.04 0-.034.029-.05.09-.05a2.35 2.35 0 0 1 .732.14c.271.089.419.121.552.121.414 0 .663-.216.663-.573 0-.179-.065-.404-.157-.548-.081-.124-.216-.251-.389-.363-.025-.017-.048-.026-.065-.026-.023 0-.042.018-.042.042l.008.107v.01c0 .04-.023.073-.053.073-.046 0-.093-.054-.146-.165-.152-.323-.398-.517-.65-.517-.055 0-.087.019-.087.053 0 .025.015.063.043.109a1.02 1.02 0 0 1 .074.148c.013.032.02.056.02.071s-.013.024-.038.024c-.037 0-.098-.034-.139-.077l-.124-.132-.107-.166a.79.79 0 0 0-.33-.289l-.207-.107c-.041-.022-.078-.033-.105-.033s-.039.013-.039.038.013.059.037.095a.42.42 0 0 1 .076.165c0 .028-.018.05-.041.05-.058 0-.162-.104-.307-.305a.78.78 0 0 1-.158-.464c0-.348.268-.619.613-.619.177 0 .399.074.618.207l.397.24c.142.086.334.149.453.149.066 0 .085-.004.233-.042a.4.4 0 0 0 .107-.041.06.06 0 0 0 .03-.049c0-.032-.02-.047-.072-.05-.184-.014-.566-.164-.817-.323l-.273-.156c-.068-.024-.114-.059-.114-.088 0-.013.014-.02.036-.02l.048.008.36.132.347.124a2.18 2.18 0 0 0 .555.116c.157 0 .265-.108.265-.265 0-.079-.02-.168-.052-.23-.05-.099-.116-.182-.143-.182s-.05.033-.05.088l.004.044.01.106c0 .111-.061.184-.156.184a.46.46 0 0 1-.135-.026l-.537-.173c-.467-.151-.648-.19-.878-.19-.649 0-1.139.438-1.139 1.022 0 .658.452 1.071 1.612 1.472 1.125.39 1.272.479 1.272.775 0 .17-.16.307-.359.307a1 1 0 0 1-.194-.017l-.562-.132c-.345-.084-.637-.116-1.027-.116-.819 0-1.214.125-1.642.521-.099.092-.139.109-.249.109l-.056-.002-.13-.008c-.099 0-.174.047-.234.149l-.132.223c-.018.031-.054.049-.095.049-.086 0-.131-.057-.212-.256a.64.64 0 0 0-.165-.249l-.174-.149c-.026-.023-.041-.044-.041-.06s.015-.044.041-.08a.84.84 0 0 0 .075-.115c.026-.047.039-.081.041-.1l.008-.074c.006-.024.03-.041.059-.041.055 0 .064.036.066.24a.59.59 0 0 0 .066.223l.091.198c.012.026.041.042.075.042.086 0 .194-.201.223-.413.024-.176.043-.232.079-.232s.049.021.119.166c.022.044.056.087.099.124s.075.054.099.058h.009c.068 0 .091-.043.107-.199l.008-.082-.016-.116-.011-.08c0-.053.018-.085.049-.085.018 0 .04.012.062.033l.082.083c.055.055.111.083.166.083.071 0 .115-.031.115-.081 0-.041-.009-.061-.082-.183a2.51 2.51 0 0 1-.058-.107c-.073-.139-.108-.174-.173-.174l-.084.008-.107.041c-.032.012-.054.019-.066.019s-.025-.014-.025-.033c0-.074.049-.192.141-.336.057-.09.104-.311.14-.649l.042-.388c.025-.238.051-.323.099-.323.017 0 .031.007.033.017l.024.124v.099c0 .12.013.218.028.218.035 0 .087-.041.137-.111.036-.05.063-.106.083-.165.027-.089.042-.161.042-.217 0-.191-.081-.273-.339-.345-.026-.007-.043-.016-.049-.025l-.009-.074v-.14l-.017-.1-.032-.083-.042-.091-.066.041c-.169.106-.21.138-.265.206-.075.095-.101.119-.132.119-.023 0-.041-.016-.041-.036l.033-.141.003-.024c0-.181-.102-.356-.284-.487l-.058.066-.058.083-.099.116a.39.39 0 0 0-.092.245l.001.027.001.028c0 .065-.01.088-.041.088l-.018-.008-.066-.082-.082-.099-.149-.091-.074-.058c-.08.173-.083.191-.083.414v.069c0 .074-.024.119-.064.119-.019 0-.054-.014-.101-.041-.037-.021-.082-.034-.123-.034-.12 0-.209.102-.209.241 0 .151.032.255.133.42.065.107.15.194.19.194.005 0 .015-.076.025-.177l-.025-.14-.005-.063c0-.053.019-.086.05-.086.046 0 .075.051.104.19l.066.306.066.388a1.54 1.54 0 0 0 .099.33 1.66 1.66 0 0 0 .14.289c.092.118.102.134.102.16 0 .02-.017.038-.036.038s-.043-.009-.075-.025a.32.32 0 0 0-.099-.033l-.06-.009c-.137 0-.165.11-.165.658 0 .342.071.798.159 1.019l.174.438a.56.56 0 0 1 .042.205c0 .604-.817 1.569-1.678 1.983-.335.161-.434.328-.463.784a1.57 1.57 0 0 1 .289-.116c.244-.068.296-.103.33-.215l.033-.107c.015-.046.045-.068.215-.157.064-.033.109-.07.132-.107.043-.071.076-.106.098-.106s.036.016.036.043l-.002.013-.091.236-.01.058c0 .173.097.317.275.408l.024-.099c.029-.126.058-.209.083-.248l.158-.231c.057-.084.067-.139.067-.352l-.009-.26-.005-.066c0-.043.02-.066.058-.066.029 0 .053.011.055.025l.024.157c.006.033.04.058.081.058.08 0 .182-.102.291-.289.042-.073.059-.13.059-.197a1.9 1.9 0 0 0-.026-.257l-.003-.049c0-.041.024-.067.063-.067.021 0 .037.007.04.016l.058.191c.019.063.063.107.108.107.127 0 .258-.259.272-.537.008-.174.03-.235.083-.235.021 0 .036.008.041.02l.033.107c.012.039.036.065.059.065s.063-.037.115-.099a.83.83 0 0 0 .074-.107c.016-.029.024-.059.024-.087 0-.042-.009-.053-.074-.103s-.091-.104-.091-.173c0-.12.051-.248.198-.504.135-.232.153-.259.186-.259s.055.031.055.07c0 .024-.006.049-.017.072-.022.048-.034.081-.034.099 0 .032.029.059.066.059a.34.34 0 0 0 .15-.05 1.66 1.66 0 0 1 .223-.091l.281-.099c.052-.016.111-.025.17-.025.048 0 .096.006.144.017.094.022.158.034.19.034a.13.13 0 0 0 .133-.131.35.35 0 0 0-.051-.143l-.074-.115c-.036-.038-.051-.059-.051-.074l.009-.033c.01-.02.028-.033.047-.033.065 0 .193.133.308.323.648 1.057.962 1.391 1.438 1.535.496.15.613.255.613.551 0 .157-.083.346-.258.588-.33.458-.447.726-.447 1.031l.001.068.091-.042c.068-.034.112-.054.133-.058l.206-.041c.065-.013.117-.09.117-.173l-.001-.016-.016-.182-.002-.029c0-.102.05-.187.112-.187.023 0 .049.021.063.05l.132.28c.053.115.116.17.288.248zM17.663 3.42l-.008.132-.002.081c0 .134.021.192.071.192s.141-.102.179-.215a.84.84 0 0 0 .042-.224.41.41 0 0 0-.042-.156c-.037-.09-.075-.132-.121-.132-.071 0-.104.091-.118.322z" data-v-7c4b1471></path><path d="M17.089 1.893l.116.115c.169.169.285.513.285.846l-.004.137-.025.388-.008.325c0 1.079.314 1.815.776 1.815.116 0 .258-.107.356-.265.021-.034.049-.06.066-.06.026 0 .039.022.041.068l.017.182.016.156.025.174.025.162c0 .083-.017.092-.215.119a.55.55 0 0 0-.231.091c-.128.082-.203.139-.215.165l-.091.19c-.012.024-.032.041-.053.041-.048 0-.113-.073-.204-.231-.084-.146-.121-.23-.121-.269 0-.026.021-.037.072-.037h.017l.099.008.074-.008.067-.008c.028-.007.049-.031.049-.061 0-.02-.013-.038-.033-.046l-.372-.158c-.089-.038-.185-.134-.272-.272-.095-.152-.151-.285-.151-.36 0-.059.025-.097.065-.097.016 0 .037.006.061.019a.31.31 0 0 0 .097.033c.014 0 .03-.006.044-.017s.025-.027.025-.04c0-.024-.025-.055-.066-.085-.309-.219-.497-.485-.497-.704 0-.064.015-.094.047-.094l.061.006c.045.009.099.017.116.017.045 0 .076-.025.076-.064 0-.024-.03-.054-.076-.076-.206-.103-.257-.162-.388-.455-.101-.224-.153-.318-.24-.429.108-.052.166-.067.257-.067.113 0 .184.074.264.273.05.126.105.211.137.211.015 0 .021-.026.021-.095a.96.96 0 0 0-.034-.248c-.02-.075-.029-.137-.024-.182l-.017-.116-.091-.05c-.084-.045-.141-.154-.141-.271a.61.61 0 0 1 .017-.15l.05-.191a1.6 1.6 0 0 0 .059-.349v-.071l.074.082zm.992 5.953a1.22 1.22 0 0 1-.396-.123.75.75 0 0 0-.31-.084c-.131 0-.231.041-.351.141l.074.057.166.116.158.124c.04.032.089.05.139.05.162 0 .299-.074.522-.281zm3.182 1.502a.47.47 0 0 1 .165-.215c.231-.198.339-.345.339-.462v-.083-.099c0-.106.017-.141.073-.141.025 0 .045.01.051.025l.041.098c.01.023.036.037.07.037.059 0 .101-.042.203-.21.043-.071.061-.117.061-.164 0-.029-.006-.061-.02-.093l-.058-.131a.4.4 0 0 1-.034-.129c0-.054.027-.086.074-.086.025 0 .047.01.06.026l.065.082c.015.018.019.029.044.029s.085-.029.106-.07l.066-.132c.017-.033.025-.059.025-.075 0-.028-.026-.056-.067-.073l-.116-.05c-.135-.058-.248-.291-.248-.512 0-.025.009-.061.025-.107l.05-.141a.41.41 0 0 0 .025-.137c0-.081-.025-.159-.082-.251l-.099-.173c-.048-.123-.076-.164-.117-.164-.029 0-.057.011-.106.039l-.083.05-.116.133-.116.057c-.069.035-.135.184-.135.309 0 .178.039.275.309.757.114.204.168.355.168.47 0 .336-.343.613-.903.727-.669.137-.815.248-.892.678.116-.06.162-.068.366-.068l.121.002h.019c.111 0 .125-.008.196-.107a.62.62 0 0 1 .273-.23l.132-.058.107-.058.033-.009c.03 0 .046.012.046.035 0 .028-.027.076-.079.139-.08.097-.126.196-.126.272 0 .11.018.166.085.265z" data-v-7c4b1471></path><path d="M20.223 8.069c.095.059.191.145.248.223.079.108.09.116.169.116a.52.52 0 0 0 .12-.017l.074-.016c.141-.027.183-.047.183-.085 0-.023-.013-.046-.035-.064l-.099-.082-.091-.083a.44.44 0 0 0-.261-.092c-.103 0-.186.027-.309.1zm2.675.446l.049-.009.083-.008.066.008.045.003c.084 0 .127-.009.162-.036.051-.039.104-.101.157-.19.021-.035.032-.068.032-.094 0-.056-.051-.088-.141-.088-.227 0-.366.126-.454.413z" data-v-7c4b1471></path></g><g class="B" data-v-7c4b1471><path d="M19.816 2.81c.009.077.049.14.09.14.035 0 .09-.118.176-.263.117-.199.214-.365.214-.471 0-.035-.018-.062-.041-.062l-.009.003-.091.084a.94.94 0 0 1-.273.148c-.106.038-.136.07-.136.14l.012.067.069.143-.011.072zm-.724-.611c-.029-.024-.07-.042-.092-.042-.035 0-.05.018-.05.06l.002.024c.006.045.018.092.032.14a.72.72 0 0 0 .109.231l.125.209a.43.43 0 0 0 .18.114l.006.001c.022 0 .041-.014.043-.034l.026-.165.041-.149.005-.035c0-.04-.023-.076-.062-.096l-.141-.075-.222-.181z" data-v-7c4b1471></path><path d="M19.637 3.248h-.044l-.096-.009c-.003-.001-.037-.021-.1-.059-.037-.022-.077-.033-.116-.033-.076 0-.121.047-.121.126 0 .062.037.182.105.344l.108.264c.091.231.185.33.31.33.107 0 .193-.088.26-.263l.091-.372c.044-.116.153-.164.153-.245 0-.095-.106-.186-.196-.186l-.048.009-.124.084-.182.008z" data-v-7c4b1471></path></g><path d="M19.627 3.477h-.099c-.015 0-.03.009-.041.025-.016.023-.025.038-.025.041l.041.198.033.173c.019.095.034.133.105.133.081 0 .15-.055.159-.157l.017-.182.016-.188c0-.018-.009-.036-.024-.051s-.027-.018-.043-.018l-.007.001-.132.025z" class="C" data-v-7c4b1471></path><path d="M8.2 5.467l.033.124.066.264c.104.472.192.595.421.595.131 0 .24-.073.273-.182l.05-.166c.011-.038.04-.06.079-.06.089 0 .131.093.135.3.002.059.021.194.059.404.022.124.032.245.032.36a.59.59 0 0 1-.049.259c.028.162.05.38.05.506 0 .204-.038.394-.099.493a1.04 1.04 0 0 1 .042.311 1.55 1.55 0 0 1-.026.275l-.044.285a.35.35 0 0 0 .019.111c.016.047.025.081.025.099 0 .023-.011.041-.025.041l-.165-.066-.182-.099c-.059-.032-.099-.064-.19-.148-.161.144-.208.166-.628.281-.084.022-.146.048-.182.074-.052.037-.09.057-.11.057-.071 0-.105-.114-.105-.35 0-.175.018-.337.05-.46a.94.94 0 0 0-.295-.074 1.68 1.68 0 0 0-.126.016l-.031.003c-.024 0-.044-.036-.044-.079 0-.032.022-.112.051-.179l.082-.198c.03-.072.098-.154.198-.239a.53.53 0 0 1 .215-.125l.297-.057c.177-.034.282-.128.282-.251s-.08-.199-.257-.261l-.356-.124a1.91 1.91 0 0 1-.323-.157c-.197-.117-.23-.132-.277-.132-.071 0-.112.054-.112.147 0 .147.096.25.232.25.028 0 .056-.006.083-.017.04-.016.069-.025.085-.025.037 0 .058.022.058.063l-.002.036-.017.14c-.014.12-.092.265-.264.496l-.074.099a1.14 1.14 0 0 1-.446.652l-.091.066c-.007.008-.029.047-.066.116-.017.032-.072.098-.165.198-.07.076-.139.139-.207.19-.092.07-.148.121-.165.149l-.083.141c-.015.025-.04.041-.067.041-.073 0-.14-.076-.182-.206-.03-.097-.057-.125-.12-.125-.032 0-.081.009-.144.025l-.116.016h-.298c-.148 0-.358.039-.454.084-.038.018-.067.026-.085.026s-.033-.011-.055-.051c-.015-.028-.018-.041-.018-.066 0-.151.108-.435.249-.661.09-.143.119-.176.223-.264-.033-.14-.123-.249-.231-.28l-.141-.041c-.019-.006-.033-.022-.033-.04 0-.043.067-.102.191-.167.161-.085.324-.132.454-.132.137 0 .27.054.422.174.224.175.284.207.393.207.177 0 .345-.162.345-.331 0-.113-.06-.234-.218-.438-.23-.298-.299-.452-.299-.671 0-.136.042-.309.093-.386l.083-.123c.017-.028.028-.055.028-.08 0-.055-.064-.095-.149-.095-.13 0-.381.093-.581.215-.099.061-.166.132-.166.176 0 .026.013.05.034.064l.091.058c.011.007.018.02.018.034s-.014.038-.034.064l-.165.215a2.76 2.76 0 0 1-.347.363.57.57 0 0 0-.083.083c-.001.001-.023.042-.066.124a1.3 1.3 0 0 1-.364.371c-.061.042-.099.072-.115.091s-.034.053-.066.115c-.021.04-.057.098-.108.173-.081.12-.148.205-.198.256L3.4 8.67c-.071.071-.133.209-.231.511-.058.183-.111.29-.142.29-.014 0-.037-.018-.065-.051-.164-.187-.305-.298-.379-.298-.017 0-.048.014-.092.042-.061.038-.136.067-.223.083l-.305.057c-.231.044-.322.094-.455.248-.032.036-.058.057-.072.057-.025 0-.044-.041-.044-.096l.008-.077.042-.223c.044-.239.098-.416.165-.537l.14-.256c.028-.05.042-.095.042-.134 0-.19-.197-.365-.437-.387-.061-.005-.084-.02-.084-.054 0-.042.067-.125.159-.193.165-.126.382-.215.52-.215.084 0 .213.035.371.099l.182.074a.49.49 0 0 0 .184.043c.192 0 .379-.175.609-.57.104-.179.149-.308.149-.424 0-.208-.099-.336-.262-.336a.53.53 0 0 0-.357.156c-.083.084-.127.172-.127.256l.003.092.001.02c0 .077-.026.12-.072.12-.078 0-.191-.111-.516-.504-.242-.293-.296-.418-.306-.711-.28-.357-.35-.508-.35-.762l.011-.17c-.194-.233-.249-.36-.249-.574 0-.078.013-.124.059-.218-.099-.145-.13-.21-.157-.322l-.041-.174c-.028-.118-.073-.22-.132-.305-.075-.107-.083-.121-.083-.158 0-.096.066-.134.356-.205-.012-.08-.017-.142-.017-.183 0-.048.006-.094.025-.197l.058-.306c.023-.123.035-.211.035-.264s-.009-.098-.06-.263a.9.9 0 0 0-.074-.19c-.027-.042-.05-.094-.05-.113 0-.029.02-.045.057-.045.082 0 .298.131.522.316.474.392.572.549.637 1.023l.025.166c.227.167.347.369.347.585a1.03 1.03 0 0 1-.165.529l-.166.256a.5.5 0 0 0-.074.273c0 .155.045.298.157.494.127.223.235.314.368.314.218 0 .409-.379.409-.81v-.058l-.001-.149c0-.084.005-.167.018-.272l.024-.24.009-.199.003-.13c0-.046-.024-.093-.086-.158l-.181-.198c-.263-.287-.407-.556-.407-.757a.42.42 0 0 1 .422-.439.6.6 0 0 1 .175.032v-.056c0-.364.075-.633.175-.633l.04.013.149.132.181.116.05.049c0-.102.005-.113.108-.232.025-.028.063-.081.115-.157l.082-.124.042-.074c.022-.042.044-.062.068-.062s.042.03.072.12c.019.056.032.071.174.198.049.044.083.081.098.108s.036.078.067.164l.025.067a.5.5 0 0 1 .165-.149l.124-.074c.046-.028.078-.043.092-.043s.026.02.041.05.035.07.066.124c.088.153.117.227.117.299l-.002.081V1.9c.271.085.373.225.373.517 0 .21-.11.451-.323.705-.142.169-.158.202-.158.32 0 .611.426.965 1.175.976l.553.008c.356.006.569.041.9.148.393.128.507.158.621.158.038 0 .076-.012.107-.034s.049-.049.049-.073c0-.116-.203-.209-.867-.397-1.363-.386-1.941-.934-1.941-1.836 0-.697.58-1.237 1.33-1.237a2.89 2.89 0 0 1 .826.141l.338.124c.062.023.122.035.178.035.115 0 .174-.096.177-.291.003-.104.026-.14.094-.14.095 0 .242.119.377.306s.224.401.224.542c0 .188-.088.319-.29.432-.185.282-.414.412-.72.412-.239 0-.578-.135-1.139-.454-.196-.111-.295-.148-.398-.148-.146 0-.241.084-.241.214 0 .119.092.196.334.28.357.125.445.174.586.323.421.073.604.146.868.346.725.23 1.175.724 1.175 1.291 0 .551-.373.947-.892.947a1.6 1.6 0 0 1-.391-.05z" class="B" data-v-7c4b1471></path><g class="C" data-v-7c4b1471><path d="M9.021 9.083a.91.91 0 0 1-.03-.199l.006-.065.025-.132.009-.107c0-.115-.019-.196-.058-.248L8.872 8.2c-.032-.044-.061-.097-.082-.158-.011-.03-.017-.054-.017-.069 0-.037.023-.061.06-.061.022 0 .031.004.106.048.032.019.06.028.081.028.049 0 .076-.08.076-.22 0-.159-.015-.248-.05-.288l-.124-.14-.107-.091c-.026-.022-.044-.05-.044-.072 0-.035.027-.06.067-.06s.117.018.183.042l.038.008c.034 0 .047-.02.047-.068l-.002-.03-.025-.174-.049-.181c-.016-.059-.025-.068-.063-.068l-.021.003-.206.041-.033.003c-.271 0-.557-.228-.644-.515l-.165-.537c-.051-.166-.175-.323-.397-.504-.067-.055-.124-.086-.165-.09l-.149-.017c-.027-.003-.045-.019-.045-.041 0-.034.032-.049.103-.049l.272.024a2.14 2.14 0 0 1 .446.116c.247.085.414.121.554.121.413 0 .661-.223.661-.597 0-.256-.134-.545-.338-.731-.117-.104-.233-.182-.273-.182-.023 0-.042.019-.042.044l.008.105v.01c0 .041-.024.073-.057.073-.042 0-.089-.054-.143-.165-.156-.325-.404-.518-.661-.518-.043 0-.074.018-.074.044 0 .017.013.057.041.119l.066.148a.28.28 0 0 1 .027.076c0 .009-.016.018-.035.018-.038 0-.098-.034-.14-.078l-.123-.132-.108-.166c-.086-.132-.155-.192-.339-.289l-.198-.107c-.038-.022-.073-.033-.103-.033s-.044.014-.044.043.011.058.032.09c.061.094.085.141.085.166s-.019.049-.043.049c-.064 0-.197-.13-.315-.305-.097-.145-.149-.307-.149-.464 0-.355.259-.619.61-.619.181 0 .41.077.621.207l.388.24a1.02 1.02 0 0 0 .452.149 1.11 1.11 0 0 0 .242-.042c.036-.01.07-.023.099-.041.023-.014.039-.032.039-.046s-.009-.032-.023-.036l-.049-.016-.182-.034c-.047-.008-.122-.036-.223-.083l-.414-.206a1.61 1.61 0 0 0-.272-.156c-.067-.023-.109-.053-.109-.079s.013-.036.037-.036.054.011.088.032c.122.076.228.116.306.116l.355.124c.176.062.433.116.549.116.15 0 .271-.122.271-.273a.72.72 0 0 0-.143-.362c-.019-.027-.039-.042-.056-.042-.033 0-.051.024-.051.066l.008.067.013.098c0 .107-.072.191-.164.191a.44.44 0 0 1-.13-.026l-.537-.173c-.45-.145-.658-.19-.884-.19-.642.001-1.132.442-1.132 1.022 0 .657.462 1.081 1.603 1.472 1.123.385 1.281.479 1.281.768 0 .166-.168.314-.356.314a1.03 1.03 0 0 1-.198-.017l-.562-.132a4.18 4.18 0 0 0-1.028-.116c-.81 0-1.26.142-1.649.521-.097.095-.129.109-.241.109l-.056-.002-.116-.008h-.015c-.097 0-.169.045-.233.149l-.141.223c-.023.031-.058.049-.094.049-.074 0-.119-.056-.203-.256a.7.7 0 0 0-.173-.249l-.165-.149c-.027-.024-.042-.046-.042-.063s.012-.045.033-.077c.079-.115.107-.166.116-.215.022-.11.025-.115.071-.115s.066.051.07.24a.6.6 0 0 0 .067.223l.091.198c.011.026.041.042.074.042.085 0 .194-.201.223-.413.024-.177.042-.232.079-.232.015 0 .029.006.036.017s.034.061.074.148a.33.33 0 0 0 .108.124.34.34 0 0 0 .099.058l.01.001c.067 0 .09-.044.106-.2l.008-.082-.017-.116-.012-.08c0-.053.019-.085.049-.085.018 0 .04.012.062.033l.083.083c.055.054.11.082.163.082.069 0 .111-.028.111-.073 0-.04-.015-.079-.076-.191l-.058-.107c-.066-.125-.119-.174-.181-.174l-.083.008-.099.041c-.03.012-.052.019-.065.019s-.026-.014-.026-.033c0-.074.048-.191.14-.336.065-.105.11-.328.132-.649.028-.431.086-.711.146-.711.041 0 .057.035.057.127l-.004.113-.003.079c0 .077.017.139.037.139.071 0 .155-.105.222-.276.028-.072.043-.128.043-.168l-.009-.038-.165-.306-.165-.049c-.031-.009-.051-.023-.058-.037V1.9v-.09l-.016-.1-.033-.083-.041-.091c-.181.098-.267.163-.331.247s-.101.12-.133.12c-.021 0-.04-.02-.04-.044s.008-.065.025-.134l.005-.046c0-.178-.108-.352-.286-.465l-.05.066-.058.083-.099.116a.48.48 0 0 0-.083.165.32.32 0 0 0-.017.094v.013l.001.03c0 .069-.007.086-.038.086l-.02-.009-.058-.082-.09-.099-.14-.091-.074-.058-.033.074c-.026.058-.04.102-.041.133l-.009.132-.008.14.001.024c0 .072-.017.1-.061.1-.015 0-.057-.018-.097-.041a.24.24 0 0 0-.12-.034c-.129 0-.211.089-.211.228 0 .165.049.323.133.433l.107.14c.03.037.084.07.087.049l.02-.173-.025-.14-.005-.063c0-.053.018-.086.049-.086.047 0 .075.051.105.19l.066.306.067.388a1.54 1.54 0 0 0 .099.33 1.71 1.71 0 0 0 .141.289c.092.118.102.134.102.16 0 .02-.017.038-.035.038s-.043-.009-.074-.025a.34.34 0 0 0-.099-.033l-.065-.009c-.133 0-.16.114-.16.665a3.35 3.35 0 0 0 .159 1.012l.173.438a.54.54 0 0 1 .041.205c0 .602-.799 1.547-1.677 1.983-.327.161-.431.317-.454.676l-.008.108a1.15 1.15 0 0 1 .28-.116c.246-.064.294-.095.331-.215l.032-.107c.013-.04.033-.055.223-.157.065-.034.111-.072.133-.107.041-.07.076-.107.098-.107s.032.01.032.027l-.007.029-.082.236-.01.058c0 .175.096.317.274.408.029-.191.049-.256.108-.346l.148-.231c.055-.086.078-.19.078-.353a1.53 1.53 0 0 0-.02-.258l-.006-.065c0-.042.022-.066.058-.066.029 0 .052.01.055.024l.033.157c.006.034.041.058.08.058.08 0 .183-.103.291-.289a.44.44 0 0 0 .061-.219l-.012-.112-.025-.123-.002-.024c0-.054.03-.092.073-.092.019 0 .034.007.037.016l.049.191c.017.063.061.107.107.107.056 0 .151-.096.207-.207a.73.73 0 0 0 .075-.338c0-.176.018-.227.083-.227.021 0 .037.007.041.02l.033.107c.013.039.036.065.059.065.034 0 .127-.1.189-.206.017-.027.025-.055.025-.077 0-.035-.024-.071-.075-.113-.086-.071-.091-.082-.091-.19s.017-.158.091-.289l.107-.198c.104-.204.142-.257.18-.257.032 0 .06.034.06.073 0 .022-.006.045-.017.068a.28.28 0 0 0-.033.098c0 .032.027.059.061.059s.088-.017.146-.05c.022-.013.099-.042.231-.091l.273-.099a.49.49 0 0 1 .165-.025.66.66 0 0 1 .148.017l.191.034c.075 0 .141-.064.141-.138 0-.055-.057-.163-.133-.251-.028-.033-.042-.058-.042-.075l.01-.033c.011-.02.028-.033.044-.033.056 0 .186.139.303.323.711 1.119.966 1.39 1.446 1.535.486.148.613.261.613.55 0 .158-.081.341-.258.589-.36.503-.447.706-.447 1.038v.061l.091-.042c.067-.034.112-.054.132-.058l.206-.041c.062-.013.117-.092.117-.169l-.001-.021-.025-.182-.002-.024c0-.064.032-.138.076-.174.014-.01.028-.018.043-.018.023 0 .051.022.065.051l.132.28c.054.115.117.169.288.248zm-6.66-5.985c-.06 0-.091.052-.097.165l-.016.156-.02.2c0 .118.035.205.083.205s.135-.101.177-.216c.025-.07.037-.13.037-.193 0-.055-.013-.121-.037-.187-.03-.084-.076-.132-.126-.132zm-.685-1.205l.116.115c.189.188.282.501.282.945 0 .098-.005.163-.026.425l-.017.34c0 1.024.333 1.798.774 1.798.139 0 .229-.066.359-.264.021-.032.054-.06.075-.06s.039.021.041.068l.017.182.017.156.016.174.025.157.002.02c0 .046-.02.072-.059.079l-.149.025c-.074.012-.152.043-.231.091-.125.075-.199.132-.215.165l-.091.19c-.013.024-.032.041-.052.041-.048 0-.125-.084-.213-.231-.075-.126-.121-.228-.121-.27 0-.026.02-.036.073-.036h.016l.107.008.066-.008.075-.008c.028-.004.05-.028.05-.058 0-.022-.014-.041-.033-.049l-.371-.158a.58.58 0 0 1-.281-.272c-.102-.196-.15-.313-.15-.371 0-.051.027-.085.067-.085.014 0 .034.006.058.018a.33.33 0 0 0 .105.033c.032 0 .061-.025.061-.052s-.03-.062-.066-.089c-.31-.225-.488-.484-.488-.707 0-.062.015-.092.048-.092l.06.007.107.016h.005c.04 0 .071-.026.071-.064 0-.023-.028-.054-.068-.076l-.132-.074c-.046-.029-.085-.068-.115-.116a7.22 7.22 0 0 1-.14-.264l-.116-.223-.075-.14a.75.75 0 0 0-.05-.066.52.52 0 0 1 .257-.067c.113 0 .184.074.264.273.05.126.105.211.136.211.016 0 .021-.027.021-.097a.94.94 0 0 0-.034-.246c-.02-.075-.029-.137-.025-.182l-.016-.116-.099-.05c-.022-.01-.048-.04-.075-.082-.046-.072-.066-.133-.066-.188 0-.035.009-.092.025-.15.084-.315.108-.438.108-.54l-.001-.071.075.082z" data-v-7c4b1471></path><path d="M2.666 7.846c-.115-.017-.169-.03-.24-.058l-.157-.065c-.133-.057-.233-.084-.316-.084-.125 0-.227.042-.344.141l.074.057.165.116.157.124a.22.22 0 0 0 .136.05c.162 0 .303-.076.525-.281zm3.179 1.503c.045-.103.067-.131.165-.215.231-.198.338-.345.338-.462v-.083-.099c0-.106.018-.141.073-.141.025 0 .044.01.051.025l.041.098c.01.023.037.038.07.038s.079-.038.121-.096l.083-.115c.041-.058.06-.107.06-.161a.27.27 0 0 0-.018-.095l-.058-.132a.39.39 0 0 1-.034-.129c0-.054.027-.086.074-.086.024 0 .046.01.059.026l.066.082c.014.018.038.029.063.029.03 0 .065-.029.086-.07l.066-.132c.017-.033.026-.059.026-.074 0-.026-.027-.052-.075-.075l-.107-.05c-.142-.065-.249-.292-.249-.529a.24.24 0 0 1 .017-.09l.058-.141a.33.33 0 0 0 .025-.132c0-.086-.028-.172-.083-.256l-.108-.173c-.049-.13-.074-.167-.114-.167l-.042.01-.058.033-.091.05-.107.133-.115.057c-.069.035-.135.182-.135.303 0 .215.024.274.307.762.11.188.168.352.168.472 0 .338-.303.579-.911.725l-.38.091c-.28.067-.445.259-.504.587.116-.06.161-.068.366-.068l.122.002h.019c.11 0 .125-.008.195-.107.082-.114.162-.182.273-.23l.132-.058.107-.058.033-.009c.03 0 .046.012.046.034 0 .032-.03.086-.078.14-.095.106-.132.194-.132.32 0 .08.019.126.091.217z" data-v-7c4b1471></path><path d="M4.805 8.068a.95.95 0 0 1 .248.223c.079.108.09.116.168.116.033 0 .074-.006.121-.017l.074-.016c.136-.026.183-.046.183-.08 0-.02-.015-.045-.042-.069l-.091-.082-.091-.083a.45.45 0 0 0-.273-.093c-.099 0-.157.02-.298.101zm2.679.447l.049-.009.075-.008.074.008.036.003c.183 0 .36-.155.36-.319 0-.057-.052-.088-.146-.088-.223 0-.362.128-.449.414z" data-v-7c4b1471></path></g><g class="B" data-v-7c4b1471><path d="M4.402 2.81c.009.076.049.14.089.14.035 0 .075-.091.161-.237.117-.198.229-.392.229-.497 0-.035-.017-.062-.041-.062l-.008.003-.091.083c-.066.06-.118.088-.281.148-.093.036-.127.073-.127.141l.012.066.041.116.017.099z" data-v-7c4b1471></path><path d="M3.896 2.379l.14.075c.039.02.06.047.06.08l-.01.052c-.02.07-.004.147-.005.176-.007.148-.119.146-.165.146-.027 0-.013-.017-.078-.091l-.182-.206c-.056-.063-.105-.208-.124-.371l-.001-.021c0-.045.014-.062.05-.062.022 0 .063.018.091.042l.223.181zm.323.867h-.045l-.095-.009a3.81 3.81 0 0 1-.099-.059c-.037-.022-.078-.033-.118-.033-.075 0-.123.041-.123.104s.033.181.109.367l.108.264c.094.232.186.331.307.331.108 0 .123-.106.196-.289.165-.415.257-.476.257-.623 0-.1-.022-.127-.113-.127l-.077-.018-.132.084-.174.008z" data-v-7c4b1471></path></g><path d="M4.212 3.477h-.107c-.016 0-.032.009-.041.025l-.016.041.041.198.033.173c.018.095.053.133.124.133.081 0 .131-.055.14-.157l.016-.182.016-.188c0-.018-.009-.036-.025-.051s-.027-.018-.041-.018l-.008.001-.132.025z" class="C" data-v-7c4b1471></path><path d="M14.987 10.884c-.072-.176-.245-.3-.447-.3s-.375.124-.447.3h-.705c-.072-.176-.245-.3-.447-.3s-.375.124-.447.3h-.705c-.072-.176-.245-.3-.447-.3s-.375.124-.447.3H9.98v4.28h.81v1.641h.95v-1.64h2.399v1.64h.949v-1.64h.809v-4.28h-.911z" class="B" data-v-7c4b1471></path><g class="C" data-v-7c4b1471><path d="M10.965 15.539h.492v.632h-.492v-.632zm0 .774h.492v.2h-.492v-.2zm3.351-.774h.492v.632h-.492v-.632zm0 .774h.492v.2h-.492v-.2z" data-v-7c4b1471></path></g><g fill="#e73337" data-v-7c4b1471><path d="M10.309 11.234h5.256v.195h-5.256v-.195zm.002 3.599h5.254v-3.22h-5.256l.002 3.22z" data-v-7c4b1471></path></g><g class="C" data-v-7c4b1471><use xlink:href="#B" data-v-7c4b1471></use><path d="M12.715 11.1c0-.124.101-.225.225-.225s.225.101.225.225v.591c0 .124-.101.225-.225.225s-.225-.101-.225-.225V11.1zm1.598 0c0-.124.101-.225.225-.225s.225.101.225.225v.591c0 .124-.101.225-.225.225s-.225-.101-.225-.225V11.1zm-2.633 2.158c.339.424.766.633 1.294.633.489 0 .826-.175 1.222-.633-.395-.405-.763-.575-1.246-.575-.508 0-.966.207-1.27.575z" data-v-7c4b1471></path></g><g class="B" data-v-7c4b1471><path d="M12.938 12.873c-.364 0-.659.113-1.008.383.289.286.629.433 1.002.433.42 0 .694-.116 1.006-.425-.358-.284-.633-.391-1-.391zm-.014.483c-.195 0-.36-.052-.569-.183.174-.094.37-.142.578-.142a1.38 1.38 0 0 1 .597.142 1.03 1.03 0 0 1-.605.183zm2.079 1.191c-.157 0-.284-.127-.284-.283s.127-.284.284-.284.284.127.284.284-.127.283-.284.283z" data-v-7c4b1471></path></g><path d="M15.002 14.049c-.119 0-.216.097-.216.216s.097.215.216.215.216-.097.216-.215-.097-.216-.216-.216z" class="C" data-v-7c4b1471></path><path d="M10.887 14.547c-.161 0-.293-.127-.293-.283s.127-.284.284-.284.284.127.284.284a.28.28 0 0 1-.275.283z" class="B" data-v-7c4b1471></path><path d="M10.876 14.049c-.119 0-.216.097-.216.216s.101.215.225.215c.114 0 .208-.097.208-.215s-.097-.216-.216-.216z" class="C" data-v-7c4b1471></path><path d="M10.877 12.593c-.156 0-.284-.127-.284-.284s.127-.283.284-.283.284.127.284.283-.128.284-.284.284z" class="B" data-v-7c4b1471></path><use xlink:href="#C" class="C" data-v-7c4b1471></use><path d="M15.003 12.593c-.157 0-.284-.127-.284-.284s.127-.283.284-.283.284.127.284.283-.127.284-.284.284z" class="B" data-v-7c4b1471></path><path d="M15.002 12.092c-.119 0-.216.097-.216.216s.097.216.216.216.216-.097.216-.216-.097-.216-.216-.216z" class="C" data-v-7c4b1471></path></g><defs data-v-7c4b1471><clipPath id="A" data-v-7c4b1471><path fill="#fff" d="M0 0h148.235v30H0z" data-v-7c4b1471></path></clipPath><path id="B" d="M11.113 11.1c0-.124.101-.225.225-.225s.225.101.225.225v.591c0 .124-.101.225-.225.225s-.225-.101-.225-.225V11.1z" data-v-7c4b1471></path><path id="C" d="M10.876 12.092c-.119 0-.216.097-.216.216s.097.216.216.216.216-.097.216-.216-.097-.216-.216-.216z" data-v-7c4b1471></path></defs></svg></a></div><div class="gh-navAndProfile"><nav class="gh-nav"><div class="gh-accordion gh-mobile-nav"><div class="gh-menu-layer"><div class="gh-logo-mobile-container"><a href="https://www.cambridge.org/academic"><svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" width="149" height="30" viewbox="0 0 149 30" fill="none" aria-label="Homepage Cambridge University Press" class="gh-logo" data-v-7c4b1471><g clip-path="url(#A)" data-v-7c4b1471><g class="B" data-v-7c4b1471><path d="M147.065 1.786l.036 2.785-.445.114c-.1-1.217-.376-2.211-2.324-2.211h-2.618v5.147h2.247c1.103 0 1.402-.616 1.527-1.679h.447v4.304l-.446.007c-.069-1.029-.311-1.829-1.518-1.829h-2.257v4.52c0 1.314 1.133 1.314 2.332 1.314 2.151 0 3.149-.135 3.75-2.31l.441.098-.602 2.901h-9.774v-.482h.186c.75 0 1.443-.14 1.443-1.162V3.43c0-1.022-.693-1.163-1.443-1.163h-.186v-.481h9.204zm-53.267 0h-5.895v.481h.26c.486 0 1.388 0 1.388 1.525v9.569c0 .815-.748 1.104-1.388 1.104h-.26v.482h5.724v-.482h-.261c-.932 0-1.591-.115-1.591-1.6V8.766h1.454l3.918 6.18h3.371v-.492c-.889-.048-1.311-.356-1.828-1.153l-3.23-4.915.085-.035c1.152-.466 2.615-1.414 2.615-3.286 0-2.207-1.447-3.28-4.363-3.28zm-.749.536c1.685 0 2.804 1.123 2.804 2.858 0 2.138-.903 3.051-2.953 3.051h-1.125l.001-5.826a8.87 8.87 0 0 1 1.273-.083zm13.772-.539h-5.501v.481h.186c.751 0 1.443.142 1.443 1.163V13.3c0 1.021-.692 1.162-1.443 1.162h-.186v.481h5.501v-.481h-.186c-.75 0-1.444-.14-1.444-1.162V3.427c0-1.021.694-1.163 1.444-1.163h.186v-.481zM31.488 8.355c0 4.435 2.709 6.939 6.956 6.939 2.089 0 3.924-.818 5.112-2.354l-.345-.644c-1.055 1.355-2.452 2.089-4.412 2.089-3.487 0-4.927-3.074-4.927-6.324 0-3.652 1.781-5.919 4.647-5.919 2.79 0 3.616 1.617 4.112 3.383l.433-.056-.139-3.046c-1.373-.641-2.776-.945-4.46-.945-1.88 0-3.545.638-4.814 1.775-1.367 1.224-2.162 3.146-2.162 5.102zM59.883 4.33l4.761 10.706h.397l4.553-10.921.401 8.416.019.944c0 .893-.643.931-1.533.984l-.036.002v.475h5.464v-.475c-1.008-.038-1.544-.13-1.622-1.151l-.509-8.729c-.112-1.86.151-2.32 1.632-2.32h.07l.001-.485h-3.654l-4.231 9.975-4.472-9.974h-3.727v.479h.152c1.046 0 1.669.644 1.602 1.779l-.516 8.32c-.069 1.215-.161 2.046-1.657 2.106h-.169v.478h4.439v-.478h-.113c-1.21-.045-1.768-.203-1.689-2.003l.437-8.128zm55.196 10.61c1.826 0 3.63-.436 4.919-1.712 1.28-1.27 2.015-3.056 2.015-4.9 0-1.974-.668-3.636-1.93-4.81-1.28-1.191-3.113-1.741-5.301-1.741l-5.887.005v.482h.187c.749 0 1.443.141 1.443 1.162v9.871c0 1.023-.694 1.163-1.443 1.163h-.187v.483l6.184-.004zM114.1 2.349c3.704 0 5.505 1.986 5.505 6.347 0 2.806-1.514 5.669-4.841 5.669-1.413 0-2.003-.225-2.003-1.621l.001-10.334a17.99 17.99 0 0 1 1.338-.062zm19.119 11.918c-.493.224-1.326.347-2.132.33-3.496 0-5.062-3.303-5.062-6.636 0-3.628 1.855-5.882 4.914-5.882 2.267 0 3.277.887 3.823 3.15l.441-.028-.209-3.141c-1.018-.34-2.623-.651-4.184-.651-3.487 0-7.192 2.112-7.192 6.746 0 4.357 2.81 7.173 7.156 7.173 1.801 0 3.422-.307 4.63-.695l.002-3.592c0-.706.374-1.079 1.082-1.079h.153v-.47h-5.062v.47h.154c.973 0 1.487.374 1.487 1.079l-.001 3.226zM80.916 8.129c2.063 0 3.294 1.147 3.294 3.168 0 1.797-1.21 3.117-2.814 3.117-1.336 0-1.746-.368-1.746-1.654V8.129h1.265zm-.073-5.86c1.733 0 2.612.865 2.612 2.723 0 1.682-.999 2.562-2.813 2.562h-.991V2.269h1.192zm1.507 5.51c1.616-.261 3.451-1.032 3.451-3.117 0-1.883-1.511-2.878-4.256-2.878l-5.846.003v.481h.261c.484 0 1.387 0 1.387 1.524v9.548c0 .817-.748 1.121-1.387 1.121h-.261v.477l6.451.001c2.463 0 4.358-1.655 4.358-3.72 0-.866-.303-1.609-.877-2.195-.742-.759-1.624-1.124-3.281-1.245zM50.387 1.784l4.289 11.418c.318.903.783 1.258 1.463 1.258h.04l-.001.486H51.08v-.486h.116c.991 0 1.38-.415 1.082-1.327L51.24 10.24h-4.149l-.956 2.654c-.42 1.245.237 1.553 1.201 1.553h.174l.001.494h-4.008l.002-.494h.045c.811 0 1.358-.498 1.668-1.305 0-.001 4.18-11.36 4.18-11.36l.992.002zm-3.065 7.81h3.684l-1.84-5.127-1.845 5.127zM32.257 20.335c.66 0 .829.18.829.672v4.573c0 1.56 1.153 2.449 3.111 2.449 1.982 0 3.063-1.02 3.063-2.677v-4.141c0-.744.18-.876.793-.876v-.348l-1.093.024a30.18 30.18 0 0 1-1.237-.024v.348c.625.012.925.012.925 1.116v3.997c0 1.272-.757 2.077-2.102 2.077-1.333 0-2.054-.84-2.054-2.089v-4.43c0-.612.264-.672.781-.672h.084v-.348l-1.573.024c-.409 0-.841-.012-1.526-.024v.348zm9.028 0c.829.024 1.237.312 1.237.732v5.33c0 .78-.252 1.056-1.177 1.068v.348l1.429-.024a43.1 43.1 0 0 1 1.453.024v-.348h-.048c-.877 0-1.165-.336-1.165-1.128v-4.982l5.909 6.686h.312v-6.578c0-.6.216-1.128.853-1.128h.264v-.348l-1.429.024c-.288 0-.757-.012-1.393-.024v.348c.853 0 1.213.192 1.213 1.14v4.189l-5.045-5.678-1.081.024c-.432 0-.877-.012-1.333-.024v.348h0zm13.441 7.13c-.685-.012-.853-.12-.853-.66v-5.678c0-.672.168-.792.877-.792v-.348l-1.501.024c-.564 0-1.177-.012-1.633-.024v.348c.673 0 .865.18.865.696v5.462c0 .78-.168.972-.901.972v.348c.36-.012.709-.024 1.622-.024a56.45 56.45 0 0 1 1.525.024v-.348h0zm1.293-7.13c.601.012.829.072.973.432l2.931 7.238h.372l2.739-6.878c.132-.336.216-.492.288-.588.096-.12.18-.204.444-.204h.072v-.348l-1.057.024c-.325 0-.565-.012-1.057-.024v.348c.517.012.853.012.853.3 0 .144-.06.336-.156.6L60.631 26l-1.886-4.681c-.144-.348-.18-.528-.18-.66 0-.312.324-.312.829-.324v-.348l-1.742.024c-.541 0-.973-.012-1.633-.024v.348h0zm8.959 0c.877 0 1.009.084 1.009.744v5.642c0 .54-.132.732-1.009.744v.348l2.774-.024 3.375.012.42-1.789h-.312c-.204.552-.336.78-.468.924a1.14 1.14 0 0 1-.589.312c-.252.06-.709.096-1.381.096-.541 0-.865-.048-1.069-.156-.216-.108-.325-.312-.325-.732V23.96h1.55c.492 0 .829.156.829.816v.192l.3-.06c-.012-.324-.036-.648-.036-1.428l.012-.996h-.3c0 .708-.192.948-.877.948h-1.478v-2.977l1.502-.036c.829 0 1.021.084 1.201.24.168.156.288.348.372 1.02l.312-.12c-.036-.456-.048-.9-.048-1.116 0-.156.012-.348.012-.456l-3.231.024c-.853 0-1.694-.012-2.546-.024v.348h0zm7.686 0h.06c.745 0 .937.108.937.792v5.522c0 .612-.144.816-.949.816h-.06v.348a76.17 76.17 0 0 1 1.778-.024l1.682.024v-.348h-.084c-.757 0-.961-.192-.961-.624V24.14h.757l.588 1.068a22.31 22.31 0 0 0 .697 1.092l.672 1.032c.264.408.409.48.613.48.252 0 .793-.024 1.189-.024.276 0 .516.012.817.024v-.348a1.26 1.26 0 0 1-.913-.336c-.228-.204-.516-.552-.841-1.044L77.18 23.9c1.057-.396 1.621-1.044 1.621-1.957 0-1.26-.961-1.957-2.895-1.957l-1.982.024c-.288 0-.757-.012-1.261-.024v.348h0zm2.402.084c.192-.06.421-.084.613-.084 1.057 0 1.681.6 1.681 1.753 0 .828-.36 1.224-.673 1.416-.24.144-.516.228-.961.228h-.661v-3.313zm9.104-.624c-1.501 0-2.534.888-2.534 2.317 0 1.188.757 1.813 1.814 2.341.865.432 1.609.804 1.609 1.693 0 .66-.492 1.404-1.526 1.404-1.057 0-1.501-.684-1.826-1.765l-.3.048c.036.156.096.648.168 1.62.697.324 1.297.504 1.994.504 1.417 0 2.654-.876 2.654-2.317 0-.936-.48-1.704-1.802-2.389-1.153-.6-1.694-.936-1.694-1.68 0-.6.444-1.369 1.465-1.369.757 0 1.177.42 1.369 1.332l.312-.036c-.06-.504-.12-1.092-.12-1.549l-.757-.084c-.432-.048-.697-.072-.829-.072zm6.391 7.671c-.685-.012-.853-.12-.853-.66v-5.678c0-.672.168-.792.877-.792v-.348l-1.502.024c-.564 0-1.177-.012-1.633-.024v.348c.673 0 .865.18.865.696v5.462c0 .78-.168.972-.901.972v.348c.36-.012.709-.024 1.621-.024a56.9 56.9 0 0 1 1.525.024v-.348zm1.517-5.966c.144-.792.409-1.044 1.333-1.044h1.633v6.002c0 .936-.192 1.008-.901 1.008h-.156v.348l1.79-.024 1.766.024v-.348c-.865-.012-1.105-.156-1.105-.864v-6.146h1.67c.432 0 .721.072.865.216.132.132.204.264.24.9l.276-.108c0-.408 0-.852.144-1.789l-.204-.096c-.18.3-.288.396-.673.396h-5.933c-.348 0-.529-.132-.613-.396h-.252a10.45 10.45 0 0 1-.216 1.921h.336zm8.746-1.164c.433 0 .745.048.913.276l2.558 3.469v2.653c0 .672-.216.72-1.045.732v.348l1.826-.024 1.694.024v-.348c-.853 0-1.057-.144-1.057-.624v-3.085l2.126-2.977c.252-.348.504-.444.828-.444v-.348l-1.045.024c-.252 0-.672-.012-1.213-.024v.348c.493.012.793.024.793.24 0 .12-.144.348-.24.492l-1.477 2.221-1.73-2.329c-.156-.216-.18-.324-.18-.384 0-.204.288-.228.624-.24v-.348l-1.693.024c-.565 0-.889-.012-1.682-.024v.348zm14.689.036c.12-.012.36-.036.636-.036 1.405 0 1.453 1.729 1.453 1.981 0 1.116-.492 1.717-1.465 1.717h-.06v.312h.18c1.393 0 1.874-.408 2.198-.744.264-.276.565-.768.565-1.488 0-1.236-.805-2.125-2.607-2.125l-1.717.024c-.385 0-.985-.012-1.442-.024v.348c.565 0 .853.036.853.708v5.63c0 .672-.24.792-.865.792v.348l1.586-.024 1.838.024v-.348c-.649 0-1.154 0-1.154-.756l.001-6.338zm4.466-.036h.06c.744 0 .937.108.937.792v5.522c0 .612-.145.816-.949.816h-.06v.348c.42-.012 1.225-.024 1.777-.024l1.682.024v-.348h-.084c-.757 0-.961-.192-.961-.624V24.14h.757l.588 1.068c.216.372.529.84.697 1.092l.672 1.032c.265.408.409.48.613.48.252 0 .793-.024 1.189-.024.276 0 .517.012.817.024v-.348a1.26 1.26 0 0 1-.913-.336c-.228-.204-.516-.552-.841-1.044l-1.465-2.185c1.057-.396 1.621-1.044 1.621-1.957 0-1.26-.96-1.957-2.894-1.957l-1.982.024c-.288 0-.757-.012-1.261-.024v.348h0zm2.402.084a2.15 2.15 0 0 1 .613-.084c1.057 0 1.681.6 1.681 1.753 0 .828-.36 1.224-.673 1.416-.24.144-.516.228-.96.228h-.661V20.42zm6.516-.084c.877 0 1.009.084 1.009.744v5.642c0 .54-.132.732-1.009.744v.348l2.775-.024 3.375.012.42-1.789h-.312c-.204.552-.336.78-.469.924-.144.144-.3.24-.588.312-.252.06-.709.096-1.381.096-.541 0-.865-.048-1.069-.156-.217-.108-.325-.312-.325-.732V23.96h1.55c.492 0 .828.156.828.816v.192l.301-.06c-.012-.324-.036-.648-.036-1.428l.012-.996h-.301c0 .708-.192.948-.876.948h-1.478v-2.977l1.502-.036c.828 0 1.021.084 1.201.24.168.156.288.348.372 1.02l.312-.12c-.036-.456-.048-.9-.048-1.116 0-.156.012-.348.012-.456l-3.231.024c-.852 0-1.693-.012-2.546-.024v.348zm10.51-.54c-1.501 0-2.534.888-2.534 2.317 0 1.188.757 1.813 1.813 2.341.865.432 1.61.804 1.61 1.693 0 .66-.492 1.404-1.526 1.404-1.056 0-1.501-.684-1.825-1.765l-.3.048c.036.156.096.648.168 1.62.696.324 1.297.504 1.994.504 1.417 0 2.654-.876 2.654-2.317 0-.936-.481-1.704-1.802-2.389-1.153-.6-1.693-.936-1.693-1.68 0-.6.444-1.369 1.465-1.369.757 0 1.177.42 1.369 1.332l.313-.036c-.06-.504-.12-1.092-.12-1.549l-.757-.084c-.432-.048-.697-.072-.829-.072zm6.233 0c-1.501 0-2.534.888-2.534 2.317 0 1.188.757 1.813 1.813 2.341.865.432 1.61.804 1.61 1.693 0 .66-.493 1.404-1.526 1.404-1.056 0-1.501-.684-1.825-1.765l-.3.048c.036.156.096.648.168 1.62.696.324 1.297.504 1.994.504 1.417 0 2.654-.876 2.654-2.317 0-.936-.48-1.704-1.802-2.389-1.153-.6-1.693-.936-1.693-1.68 0-.6.444-1.369 1.465-1.369.757 0 1.177.42 1.369 1.332l.313-.036c-.06-.504-.12-1.092-.12-1.549l-.757-.084c-.432-.048-.697-.072-.829-.072zM0 0v15.599c0 7.67 4.03 9.859 5.967 10.911.356.193 6.333 3.162 6.715 3.352l.258.138.257-.137 6.716-3.352C21.85 25.459 25.88 23.27 25.88 15.6V0H0z" data-v-7c4b1471></path></g><path d="M12.939 29.365l2.633-1.309V15.762h9.746l.001-.163V10.5h-9.747V.559h-5.266V10.5H.559v5.099l.001.163h9.746v12.294l2.633 1.309z" fill="#fff" data-v-7c4b1471></path><g fill="#e73337" data-v-7c4b1471><path d="M.559.559h9.747V10.5H.559V.559zm15.015 0h9.747V10.5h-9.747V.559zm-5.269 15.205H.559c.056 7.126 3.712 9.191 5.674 10.256.199.108 2.281 1.146 4.073 2.038V15.764zm5.269 0v12.294l4.073-2.038c1.961-1.065 5.618-3.13 5.673-10.256h-9.746z" data-v-7c4b1471></path></g><g class="B" data-v-7c4b1471><path d="M19.073 13.234l.201-.239-.254-.302-.255.302.202.239c.003.12.01 1.175-.611 1.552 0 0 .207.04.486-.014a3.1 3.1 0 0 0 .179.588c.13-.313.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm1.59-1.791l.201-.239-.254-.302-.255.302.202.239c.003.121.011 1.175-.611 1.551 0 0 .207.04.486-.014a3.09 3.09 0 0 0 .179.588c.13-.314.179-.588.179-.588.278.053.486.014.486.014-.622-.377-.614-1.431-.611-1.551zm1.586 1.791l.201-.239-.254-.302-.254.302.201.239c.003.12.01 1.175-.612 1.552 0 0 .207.04.486-.014a3.07 3.07 0 0 0 .179.588c.13-.313.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm1.586-1.791l.201-.239-.254-.302-.254.302.201.239c.003.121.011 1.175-.611 1.551 0 0 .207.04.485-.014a3.11 3.11 0 0 0 .179.588c.131-.314.179-.588.179-.588.278.053.485.014.485.014-.622-.377-.614-1.431-.611-1.551zm-6.348 0l.201-.239-.255-.302-.254.302.201.239c.003.121.011 1.175-.611 1.551 0 0 .207.04.486-.014a3.11 3.11 0 0 0 .179.588c.13-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.551zM3.733 13.234l.201-.239-.254-.302-.254.302.201.239c.003.12.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.07 3.07 0 0 0 .179.588c.13-.313.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.615-1.431-.611-1.552zm1.59-1.791l.201-.239-.254-.302-.254.302.201.239c.003.121.011 1.175-.612 1.551 0 0 .207.04.486-.014 0 0 .048.275.178.588.131-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm1.586 1.791l.201-.239-.254-.302-.255.302.202.239c.003.12.01 1.175-.611 1.552 0 0 .207.04.485-.014a3.07 3.07 0 0 0 .179.588c.13-.313.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm1.586-1.791l.201-.239-.254-.302-.254.302.201.239c.003.121.011 1.175-.611 1.551 0 0 .207.04.485-.014 0 0 .049.274.179.588.13-.314.179-.588.179-.588.278.053.486.014.486.014-.622-.377-.614-1.431-.611-1.551zm-6.348 0l.202-.239-.255-.302-.254.302.201.239c.003.121.011 1.175-.611 1.551 0 0 .207.04.486-.014a3.12 3.12 0 0 0 .179.588c.131-.314.179-.588.179-.588.278.054.485.014.485.014-.622-.377-.614-1.431-.611-1.551zm10.844 5.803l.201-.239-.254-.302-.254.302.202.239c.003.121.01 1.175-.612 1.551 0 0 .207.04.486-.014a3.07 3.07 0 0 0 .179.588c.13-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.615-1.431-.611-1.551zm0 5.387l.201-.239-.254-.302-.254.302.202.239c.003.12.01 1.175-.612 1.552 0 0 .207.04.486-.014a3.07 3.07 0 0 0 .179.588c.13-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.615-1.431-.611-1.552zm1.48-2.694l.202-.239-.255-.302-.254.302.201.239c.003.121.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.11 3.11 0 0 0 .178.589c.131-.314.179-.589.179-.589.278.054.485.014.485.014-.622-.377-.614-1.431-.611-1.552zm-2.957 0l.202-.239-.255-.302-.254.302.201.239c.003.121.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.09 3.09 0 0 0 .179.589c.131-.314.179-.589.179-.589.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm2.957 5.387l.202-.239-.255-.302-.254.302.201.239c.003.121.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.11 3.11 0 0 0 .178.588c.131-.314.179-.588.179-.588.278.054.485.014.485.014-.622-.377-.614-1.431-.611-1.552zm-2.957 0l.202-.239-.255-.302-.254.302.201.239c.003.121.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.07 3.07 0 0 0 .179.588c.131-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm1.477-20.59l.201-.239-.254-.302-.254.302.202.239c.003.12.01 1.175-.612 1.552 0 0 .207.04.486-.014a3.12 3.12 0 0 0 .179.588c.13-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.615-1.431-.611-1.552zm1.48-2.693l.202-.239-.255-.302-.254.302.201.239c.003.12.011 1.175-.611 1.552 0 0 .207.04.486-.014 0 0 .048.275.178.588.131-.314.179-.588.179-.588.278.054.485.014.485.014-.622-.377-.614-1.431-.611-1.552zm-2.957 0l.202-.239-.255-.302-.254.302.201.239c.003.12.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.13 3.13 0 0 0 .179.588c.131-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm2.957 5.387l.202-.239-.255-.302-.254.302.201.239c.003.12.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.1 3.1 0 0 0 .178.588c.131-.314.179-.588.179-.588.278.054.485.014.485.014-.622-.377-.614-1.431-.611-1.552zm-2.957 0l.202-.239-.255-.302-.254.302.201.239c.003.12.011 1.175-.611 1.552 0 0 .207.04.486-.014a3.07 3.07 0 0 0 .179.588c.131-.314.179-.588.179-.588.278.054.486.014.486.014-.622-.377-.614-1.431-.611-1.552zm11.221 13.502c.144.19.346.314.512.314a1.06 1.06 0 0 0 .223-.034.43.43 0 0 1 .11-.016c.04 0 .057.015.057.052a.56.56 0 0 1-.043.155c-.026.062-.043.112-.049.148l-.033.173-.083.148-.115.107-.033.034v.074.037c0 .202-.06.316-.223.425-.013.008-.033.022-.058.041l-.017.067-.082.288a1.73 1.73 0 0 1-.157.231c-.1.131-.165.237-.206.338-.034.083-.06.107-.114.107-.081 0-.162-.102-.176-.222a.42.42 0 0 1-.041.05l-.098.066-.158.107-.131.099-.091.091c-.016.016-.033.025-.047.025-.042 0-.085-.071-.126-.207l-.082-.271c-.022-.073-.034-.163-.034-.267 0-.137.009-.185.058-.295-.165.017-.212.027-.297.058a.29.29 0 0 1-.072.016c-.027 0-.044-.019-.044-.051a.51.51 0 0 1 .033-.122l.108-.28a.7.7 0 0 1 .566-.416.72.72 0 0 1 .211.044.45.45 0 0 0 .125.026c.096 0 .172-.07.172-.158 0-.044-.029-.091-.066-.108-.014-.007-.113-.037-.297-.091-.139-.041-.208-.092-.364-.273-.113-.131-.158-.168-.199-.168-.032 0-.049.021-.049.058l.008.11.003.051c0 .229-.068.448-.234.75l-.232.42c-.11.2-.157.352-.157.504 0 .166.072.313.165.339l.124.032a.09.09 0 0 1 .041.026c.011.013.026.034.026.047s-.015.046-.042.076c-.015.016-.064.08-.149.189-.142.186-.232.253-.405.305-.1.242-.263.383-.554.479l-.033.057c-.098.174-.317.331-.456.331h-.032c-.018.151-.126.308-.289.421l-.19.139a.34.34 0 0 0-.041.075c-.037.082-.072.116-.118.116-.088 0-.161-.082-.212-.24l-.075.049-.157.107c-.038.018-.135.047-.289.083-.203.047-.378.133-.422.207l-.074.123-.034.014c-.04 0-.087-.057-.107-.13a2.03 2.03 0 0 1-.075-.464c0-.293.097-.484.397-.783l-.001-.071c0-.456.348-.765.86-.765l.083.002.281.017.026.001c.152 0 .292-.058.444-.183.202-.165.261-.266.261-.451 0-.059-.016-.126-.079-.333a1.34 1.34 0 0 1-.061-.388c0-.341.25-.765.59-.999.087-.061.152-.141.152-.187 0-.019-.01-.034-.023-.034-.022 0-.059.023-.105.064-.04.036-.107.078-.198.125l-.132.066-.149.058c-.046.017-.069.042-.069.073 0 .018.007.044.019.075s.016.047.016.061-.014.052-.042.096l-.115.19c-.113.186-.195.266-.339.33-.093.272-.226.41-.421.438-.156.314-.294.423-.57.454-.038.121-.105.221-.248.38-.059.064-.095.109-.107.132-.065.116-.07.123-.1.123-.038 0-.124-.057-.189-.123a.5.5 0 0 1-.074-.1l-.075-.132c-.024-.043-.049-.062-.08-.062l-.053.003-.182.025a.58.58 0 0 0-.331.19l-.099.149c-.01.015-.025.024-.039.024-.074 0-.119-.163-.119-.433 0-.237.036-.395.118-.508l.231-.322c.032-.045.05-.089.05-.126a.17.17 0 0 0-.041-.106c-.049-.058-.096-.093-.132-.099l-.174-.024c-.031-.005-.044-.012-.044-.026s.009-.034.027-.057a.79.79 0 0 1 .207-.182c.205-.125.339-.174.477-.174a.81.81 0 0 1 .432.142l.239.157c.034.023.074.034.115.034.111 0 .194-.066.272-.215.076-.144.109-.26.109-.383a.51.51 0 0 0-.53-.534c-.143 0-.29.056-.43.165-.042.033-.07.064-.083.091l-.066.149c-.015.036-.039.057-.059.057-.042 0-.135-.119-.213-.272-.041-.08-.08-.179-.115-.298-.049-.161-.071-.282-.071-.412l.012-.224a.83.83 0 0 1-.149-.511.92.92 0 0 1 .059-.29.61.61 0 0 1-.091-.368l.008-.103.025-.115.017-.099c-.08-.104-.102-.174-.182-.536-.044-.205-.071-.294-.106-.347-.017-.023-.025-.041-.025-.05 0-.048.115-.092.247-.092l.116.009c-.029-.076-.035-.106-.035-.166a1.03 1.03 0 0 1 .06-.329c.044-.126.053-.161.053-.202 0-.098-.015-.197-.036-.252l-.066-.165a.23.23 0 0 1-.021-.085c0-.017.011-.023.041-.023.162 0 .472.175.715.405s.32.413.32.752l-.014.181c.225.197.323.36.323.537 0 .129-.042.215-.166.337-.223.222-.273.337-.273.622 0 .438.131.675.373.675.213 0 .377-.231.404-.57l.025-.314a3.22 3.22 0 0 1 .041-.297c.014-.075.025-.174.025-.215 0-.111-.073-.252-.29-.504-.232-.271-.31-.417-.31-.629 0-.254.176-.44.414-.44.059 0 .089.009.16.045.003-.144.01-.17.091-.372.064-.159.133-.272.165-.272.011 0 .028.012.049.033a.86.86 0 0 0 .108.09l.083.058a.75.75 0 0 1 .074.075c.051-.185.104-.272.256-.421.116-.113.159-.148.181-.148s.038.015.059.041l.099.131.14.158c.054.059.073.111.099.255l.082-.049.132-.074a.97.97 0 0 0 .1-.066c.022-.016.041-.026.052-.026s.029.024.039.059l.049.19.108.215c.032.064.042.114.042.212v.052l.055-.002c.163 0 .303.192.303.414 0 .294-.235.674-.54.876-.028.099-.035.139-.035.219 0 .657.173.794 1.183.945a5.56 5.56 0 0 1 .677.14l.653.215c.223.074.373.107.489.107.123 0 .191-.035.191-.1 0-.113-.165-.214-.672-.412l-.719-.28c-.731-.286-1.076-.731-1.076-1.388 0-.764.574-1.338 1.34-1.338.289 0 .57.06.976.207l.605.198c.101 0 .156-.069.171-.214.013-.124.047-.174.115-.174.101 0 .212.094.29.248.068.134.107.291.107.428a.47.47 0 0 1-.405.504.8.8 0 0 1-.665.342c-.329 0-.492-.065-1.054-.416-.201-.126-.287-.157-.434-.157-.197 0-.343.122-.343.287 0 .151.122.251.397.324.164.043.188.055.273.14.066-.016.096-.02.137-.02.268 0 .599.145.879.384.509.157.962.706.962 1.167 0 .509-.441.965-.935.965a3.37 3.37 0 0 1-.639-.102z" data-v-7c4b1471></path></g><g class="C" data-v-7c4b1471><path d="M22.437 23.219l.033-.091.033-.116c.006-.021.037-.068.091-.139.084-.11.126-.249.126-.411 0-.051-.013-.098-.044-.16-.016-.032-.025-.058-.025-.076 0-.011.006-.024.017-.038s.022-.023.033-.025l.005-.001c.021 0 .057.024.085.058.035.043.066.066.084.066.037 0 .076-.063.098-.157l.017-.083c0-.04-.033-.144-.074-.231-.016-.033-.024-.061-.024-.084 0-.029.019-.053.046-.053s.063.026.11.07c.023.022.045.034.063.034.052 0 .089-.053.128-.182l.033-.129c0-.024-.01-.038-.029-.038l-.029.002-.098.01c-.151 0-.364-.104-.464-.224l-.231-.281-.206-.273-.19-.124c-.031-.02-.049-.045-.049-.067 0-.031.031-.052.079-.052s.179.048.425.152a2.58 2.58 0 0 0 .837.183c.395 0 .721-.319.721-.707 0-.212-.095-.408-.327-.681-.043-.051-.118-.101-.153-.101-.027 0-.046.02-.046.049a.26.26 0 0 0 .025.093c.01.026.016.052.016.076 0 .038-.014.06-.039.06-.052 0-.106-.085-.151-.234-.055-.184-.162-.294-.414-.421a.89.89 0 0 0-.261-.093c-.016 0-.027.014-.027.036 0 .031.012.065.033.098a.41.41 0 0 1 .067.158v.008c0 .032-.016.05-.046.05-.053 0-.065-.014-.186-.199-.062-.095-.228-.22-.372-.281-.045-.019-.093-.031-.14-.033h-.005c-.03 0-.053.014-.053.032 0 .007.013.033.037.076l.012.047c0 .025-.017.045-.039.045-.05 0-.203-.126-.324-.265-.131-.151-.215-.343-.215-.494 0-.316.302-.596.64-.596.085 0 .157.015.212.042l.289.149.339.224c.195.127.462.223.624.223.06 0 .106-.008.26-.051.081-.022.131-.054.131-.084l-.003-.007-.029-.017-.182-.016c-.101-.01-.33-.113-.512-.232l-.38-.247-.338-.141c-.026-.01-.042-.027-.042-.043s.018-.031.039-.031c0 0 .032.006.094.017l.314.091c.079.022.206.081.38.173.344.183.569.264.734.264.191 0 .331-.131.331-.309 0-.06-.013-.157-.032-.236a.33.33 0 0 0-.05-.107c-.014-.021-.03-.032-.041-.032-.024 0-.037.025-.037.067l.004.057.003.048c0 .152-.059.206-.228.206-.137 0-.322-.055-.742-.222-.394-.155-.64-.214-.884-.214-.622 0-1.167.507-1.167 1.085 0 .499.332.882 1.011 1.161l.702.289c.581.239.794.41.794.636 0 .188-.175.309-.448.309-.118 0-.265-.032-.536-.119-.657-.209-1.085-.296-1.461-.296-.613 0-1.049.168-1.398.536-.046.049-.073.063-.114.063-.028 0-.056-.011-.118-.047a.4.4 0 0 0-.181-.059c-.06 0-.154.052-.198.109l-.082.107c-.024.031-.051.05-.073.05-.06 0-.166-.102-.232-.224-.041-.074-.069-.147-.082-.215-.011-.052-.017-.137-.017-.226l.008-.153.025-.165.025-.141c.006-.02.022-.033.04-.033.043 0 .062.039.062.129l-.002.052-.002.037c0 .235.093.45.196.45.081 0 .152-.144.211-.43.012-.057.035-.09.063-.09s.053.042.078.165c.015.08.068.191.124.264.032.042.066.067.094.067.068 0 .111-.101.145-.339.014-.092.041-.15.073-.15.014 0 .026.007.035.018a1.3 1.3 0 0 1 .058.091c.02.034.052.062.091.082s.074.033.096.033a.12.12 0 0 0 .077-.033c.037-.033.058-.058.058-.068s-.017-.038-.049-.073c-.054-.058-.096-.136-.149-.273L20 19.462c-.013-.03-.027-.05-.042-.058l-.026-.007-.049.007-.173.049-.054.009c-.023 0-.039-.015-.039-.039s.03-.062.068-.092c.209-.166.333-.445.38-.851.028-.247.06-.34.165-.487.022-.031.041-.049.052-.049.032 0 .05.025.05.073 0 .032-.009.072-.027.117a.29.29 0 0 0-.018.1l.001.031.017.05.091-.033.099-.115a.61.61 0 0 0 .109-.338c0-.079-.019-.134-.066-.19-.052-.062-.088-.087-.126-.087l-.056.004-.059.004c-.053 0-.08-.016-.08-.049l.014-.063.009-.091-.049-.206-.041-.1-.025-.083-.058.041-.124.074c-.032.019-.066.05-.1.091-.117.142-.125.149-.172.149-.03 0-.047-.011-.047-.031l.005-.035a.85.85 0 0 0 .025-.171c0-.144-.105-.361-.231-.481-.173.165-.265.346-.265.521v.099c0 .038-.012.057-.038.057h-.003c-.021-.003-.041-.019-.058-.041l-.099-.132a1.33 1.33 0 0 0-.133-.108l-.066-.057-.033.066c-.082.164-.11.262-.115.397-.004.11-.013.142-.039.142-.013 0-.03-.006-.052-.019-.125-.07-.137-.075-.191-.075-.149 0-.25.106-.25.263 0 .061.035.154.103.275.076.135.189.258.239.258.014 0 .017-.01.017-.051v-.017l-.008-.14-.017-.108-.001-.014c0-.032.012-.046.037-.046.075 0 .14.219.195.655.048.384.154.648.322.801.043.039.067.071.067.089s-.015.026-.033.026c-.024 0-.062-.015-.108-.041a.18.18 0 0 0-.09-.026c-.083 0-.175.096-.191.2l-.075.47-.058.661c-.011.125.006.293.05.495.038.178.058.309.058.391 0 .495-.308.886-.818 1.037l-.529.156c-.329.098-.491.315-.537.718.085-.067.111-.078.24-.098l.156-.025a.43.43 0 0 0 .141-.041c.015-.009.045-.04.091-.091l.14-.156c.053-.06.101-.094.13-.094.02 0 .035.022.035.048s-.02.078-.058.136-.06.135-.06.213c0 .105.028.172.135.324.013-.05.024-.083.033-.099a1.69 1.69 0 0 1 .124-.173c.114-.148.197-.302.198-.372.002-.128.014-.169.046-.169s.033.006.045.079c.003.018.012.035.025.05.019.021.038.033.05.033s.033-.012.066-.033c.057-.038.101-.077.132-.116s.062-.093.082-.149c.028-.072.042-.125.042-.156l-.001-.107c0-.028.012-.051.027-.051s.062.043.089.091c.018.032.03.042.053.042h.005c.03-.003.056-.015.074-.034.101-.098.166-.219.166-.31l-.009-.152-.033-.125-.002-.011c0-.026.019-.048.04-.048.037 0 .078.053.135.174.026.057.051.084.075.084.039 0 .07-.029.148-.142l.074-.107c.016-.024.025-.052.025-.083s-.009-.057-.025-.081l-.067-.099c-.011-.017-.016-.045-.016-.083a.81.81 0 0 1 .124-.388l.107-.207c.013-.034.027-.05.046-.05s.028.02.028.041l-.008.091v.066.066c.011.03.031.042.071.042.025 0 .054-.006.086-.017l.206-.075a1.42 1.42 0 0 0 .19-.091c.324-.179.424-.216.583-.216.095 0 .218.037.392.117.036.017.065.026.085.026s.05-.015.072-.042c.016-.019.024-.042.024-.063 0-.03-.011-.066-.033-.102-.026-.046-.051-.103-.051-.123s.014-.036.038-.036.047.02.062.044l.19.33c.154.274.354.464.529.504l.363.083c.113.025.141.069.141.209a.72.72 0 0 1-.331.616l-.298.191c-.108.068-.198.259-.198.416 0 .102.025.282.058.425l.058-.057.141-.083.124-.124.066-.182.066-.165c.032-.08.07-.132.096-.132s.045.045.045.126l-.001.023v.031c0 .118.015.17.107.348z" data-v-7c4b1471></path><path d="M17.543 25.575c0-.393.143-.564.712-.853 1.123-.569 1.728-1.091 1.728-1.488 0-.08-.026-.197-.1-.445a1.41 1.41 0 0 1-.071-.358c0-.183.151-.46.344-.632l.157-.14c.086-.077.15-.188.15-.261l-.001-.037-.002-.049c0-.082.032-.112.117-.116l.075-.008.064-.017c.027 0 .053.015.069.041l.041.066.058.066c.019.021.038.034.053.034s.033-.008.063-.024c.04-.022.071-.031.1-.031.043 0 .065.023.065.071 0 .166-.107.406-.298.661-.317.429-.421.66-.421.934 0 .215.062.404.182.56.021.028.033.05.033.061 0 .022-.021.059-.058.104l-.05.067c-.066.095-.11.132-.153.132-.032 0-.063-.027-.078-.067l-.033-.09c-.01-.026-.028-.043-.047-.043-.006 0-.02.014-.036.034-.021.027-.032.059-.032.091v.14c0 .056-.02.114-.058.165a.69.69 0 0 1-.116.123c-.031.027-.054.042-.065.042-.024 0-.047-.026-.059-.066l-.05-.165c-.007-.024-.024-.041-.041-.041-.028 0-.051.046-.058.116-.017.187-.049.301-.098.347l-.116.106c-.037.036-.081.061-.105.061s-.045-.011-.052-.027l-.058-.124c-.007-.015-.021-.025-.037-.025-.033 0-.058.066-.07.191-.03.297-.092.43-.256.545a.45.45 0 0 0-.206.231c-.072-.106-.1-.196-.1-.329a.3.3 0 0 1 .034-.157c.034-.062.053-.109.053-.137 0-.02-.013-.036-.03-.036-.008 0-.022.012-.041.032-.023.027-.059.055-.107.083-.149.085-.171.116-.207.281a.42.42 0 0 1-.38.371c-.28.057-.297.064-.397.158l-.01-.147zm-.534-8.514v.083l.001.122a.51.51 0 0 1-.018.134c-.027.115-.033.154-.033.187 0 .158.022.236.115.399.052.09.085.199.085.277 0 .033-.014.053-.036.053-.014 0-.029-.008-.04-.024l-.066-.091c-.053-.072-.103-.091-.237-.091l-.143.009a1.79 1.79 0 0 1 .099.289c.067.27.076.289.223.421s.161.15.161.198c0 .037-.026.067-.057.067l-.055-.008-.033-.003c-.045 0-.086.083-.086.175a.59.59 0 0 0 .053.208c.02.049.04.082.058.1l.083.082a.12.12 0 0 1 .033.085c0 .04-.023.074-.05.074a.19.19 0 0 1-.074-.027c-.021-.01-.04-.016-.058-.016-.037 0-.055.023-.055.068l.013.123.05.214c.011.048.042.102.091.158a.39.39 0 0 0 .124.099l.166.075c.016.012.024.036.024.066s-.024.058-.055.058a.7.7 0 0 1-.086-.017l-.084-.008c-.084 0-.09.005-.09.069a.52.52 0 0 0 .017.128l.033.132c.035.14.08.215.13.215.011 0 .032-.012.06-.033a1.02 1.02 0 0 1 .511-.173c.155 0 .332.019.399.041.038.013.065.02.079.02.02 0 .027-.02.028-.094l.017-.149.033-.256.024-.19v-.108l-.067.058c-.14.132-.229.173-.374.173-.38 0-.598-.427-.598-1.171 0-.307.045-.742.13-1.24.018-.105.026-.178.026-.229 0-.272-.172-.537-.472-.729z" data-v-7c4b1471></path><path d="M17.57 18.91l.074-.074.074-.067c.062-.054.111-.169.111-.254 0-.039-.008-.075-.028-.118-.029-.062-.084-.117-.117-.117-.028 0-.053.068-.064.175l-.017.124-.024.124-.009.124v.082zm-.726 3.377c.085.031.102.045.19.149.115.133.178.165.33.165a.42.42 0 0 0 .117-.016l.107-.033.083-.025c.04-.011.066-.028.066-.042s-.065-.072-.165-.139a1.59 1.59 0 0 0-.198-.116c-.071-.035-.131-.051-.189-.051-.116 0-.228.036-.339.109zm1.113 2.323c0-.266.262-.485.582-.485.16 0 .253.032.253.086 0 .042-.07.1-.223.181l-.24.132-.364.181-.008-.096zm3.363-2.003c.117-.024.157-.054.215-.057l.149.008a.48.48 0 0 0 .099-.066l.116-.082c.165-.113.174-.12.174-.156 0-.046-.067-.068-.206-.068-.26 0-.419.122-.546.422z" data-v-7c4b1471></path></g><g class="B" data-v-7c4b1471><path d="M18.827 17.58l.116.074c.066.042.121.073.165.09.128.053.174.071.174.12a.35.35 0 0 1-.017.094.51.51 0 0 0-.025.116c-.012.112-.08.141-.125.141-.056 0-.114-.086-.206-.248a1.91 1.91 0 0 1-.132-.33l-.005-.032c0-.02.012-.032.036-.032l.018.006z" data-v-7c4b1471></path><path d="M19.942 17.868l-.19.191c-.067.089-.067.167-.083.182s-.032.021-.058.025l-.012.001c-.048 0-.084-.035-.087-.083l-.008-.14-.009-.141v-.008c0-.054.03-.083.073-.092l.176-.049.181-.091c.053-.026.069-.033.078-.033.021 0 .039.022.039.048 0 .012-.006.03-.018.052l-.083.139z" data-v-7c4b1471></path><path d="M19.105 18.431l.124.092a.22.22 0 0 0 .111.028.51.51 0 0 0 .195-.053l.108-.049c.025-.011.047-.018.064-.018.066 0 .118.07.118.157 0 .122-.088.247-.216.429l-.09.191c-.072.103-.12.14-.179.14-.098 0-.146-.056-.293-.348-.106-.208-.149-.336-.149-.438 0-.087.045-.148.111-.148.027 0 .06-.006.096.016z" data-v-7c4b1471></path></g><path d="M19.216 18.884l.008.157c.004.071.063.142.12.142.076 0 .131-.115.16-.29l.019-.115c0-.061-.02-.077-.098-.077l-.044.002h-.058l-.037-.002c-.052 0-.072.04-.072.145l.002.038z" class="C" data-v-7c4b1471></path><path d="M8.359 21.057c.072.182.097.272.107.389l.016.346c.013.347.128.52.347.52.079 0 .145-.021.182-.058l.091-.091.036-.011c.058 0 .09.038.09.107l-.01.134c-.007.06.004.188.033.379a2.25 2.25 0 0 1 .025.333c0 .176-.013.244-.075.402.058.162.091.345.091.499 0 .18-.029.3-.099.402.033.142.041.199.041.28s-.011.187-.033.314c-.029.172-.041.305-.033.395l.001.021c0 .052-.016.078-.048.078s-.069-.024-.102-.066c-.05-.065-.083-.088-.121-.088-.057 0-.075.03-.16.278-.026.077-.093.18-.198.306-.082.098-.133.179-.149.24l-.049.173c-.01.022-.029.039-.05.041h-.01c-.136 0-.292-.292-.452-.842-.045-.156-.103-.225-.187-.225-.06 0-.121.04-.144.093l-.05.116c-.009.02-.026.033-.043.033-.066 0-.167-.121-.229-.273-.051-.126-.081-.263-.081-.38 0-.259.191-.452.766-.776.251-.141.348-.32.348-.643 0-.256-.077-.403-.297-.57-.175-.132-.275-.182-.368-.182-.078 0-.14.052-.14.118 0 .078.045.125.153.162.127.046.182.09.182.147s-.054.165-.141.299a.76.76 0 0 1-.264.273c-.039.227-.146.372-.397.537-.05.142-.078.193-.165.305l-.174.223a.72.72 0 0 0-.124.256c-.018.126-.03.148-.078.148-.066 0-.2-.116-.335-.289a.4.4 0 0 1-.107-.273c-.086.068-.113.077-.281.099-.101.014-.176.033-.223.059-.127.066-.168.084-.191.084-.034 0-.046-.018-.049-.076l-.008-.182c0-.249.098-.54.248-.734-.145-.125-.289-.202-.405-.215-.049-.005-.062-.011-.062-.029 0-.03.032-.095.078-.152.062-.078.111-.133.149-.165a.82.82 0 0 1 .479-.174c.107 0 .266.039.471.116.074.028.14.041.197.041.091 0 .142-.059.142-.163 0-.15-.074-.385-.241-.762-.112-.255-.163-.427-.163-.545 0-.286.135-.583.304-.668-.08-.04-.115-.05-.184-.05-.083 0-.148.021-.254.083-.122.071-.19.134-.19.176 0 .016.025.042.067.072.064.045.075.061.075.122 0 .204-.169.477-.405.654-.052.289-.185.464-.446.586-.034.157-.056.203-.182.38-.216.302-.266.399-.305.57-.02.089-.041.125-.068.125-.035 0-.108-.055-.188-.142l-.132-.158c-.035-.054-.053-.107-.091-.263-.06.017-.076.02-.118.02l-.121-.003-.083-.002c-.181 0-.373.041-.471.101-.036.022-.06.033-.072.033-.053 0-.097-.112-.097-.25 0-.298.083-.545.276-.814-.071-.059-.094-.081-.157-.148-.027-.03-.05-.05-.066-.058l-.091-.05c-.031-.017-.05-.037-.05-.054 0-.044.121-.159.264-.252.159-.102.285-.149.4-.149.135 0 .207.035.376.182.117.102.197.149.254.149.04 0 .084-.028.118-.075.028-.038.043-.08.043-.123 0-.158-.189-.424-.398-.562-.156-.102-.326-.157-.492-.157-.23 0-.428.114-.515.297l-.091.19c-.021.044-.048.067-.079.067-.053 0-.081-.024-.268-.241l-.214-.248a.66.66 0 0 1-.133-.214.49.49 0 0 0-.041-.107c-.007-.011-.036-.033-.082-.067-.166-.117-.287-.349-.356-.685l-.025-.107c-.202-.248-.323-.555-.323-.821a.36.36 0 0 1 .018-.113c-.118-.118-.131-.147-.224-.463-.066-.224-.108-.32-.19-.428-.022-.029-.033-.052-.033-.064 0-.045.069-.081.19-.101l.166-.019.165.011-.01-.226c0-.133.01-.219.044-.377a1.01 1.01 0 0 0 .025-.172 1.68 1.68 0 0 0-.017-.142.73.73 0 0 0-.024-.124c-.012-.031-.018-.055-.018-.07 0-.027.018-.041.049-.041.024 0 .058.012.109.036.144.071.263.143.355.215.285.223.509.566.509.779l-.004.065-.017.121c0 .036.02.084.058.134l.091.125c.081.11.133.238.133.324 0 .077-.016.111-.149.304-.1.144-.141.252-.141.369 0 .149.059.337.166.522.097.171.21.265.317.265.184 0 .265-.163.294-.604l.066-.627.008-.113c0-.052-.016-.082-.082-.161l-.249-.288c-.236-.276-.307-.418-.307-.616 0-.227.149-.384.365-.384l.099.009-.001-.064a.87.87 0 0 1 .042-.224c.052-.177.117-.314.151-.314.011 0 .038.013.08.041a1.22 1.22 0 0 0 .149.057.99.99 0 0 1 .164.082.73.73 0 0 1 .133-.289c.107-.138.228-.247.271-.247.026 0 .074.035.134.099l.157.165c.026.027.057.081.091.157l.033.074.099-.057.132-.075.157-.075c.042-.028.072-.043.085-.043.028 0 .043.05.105.323a1.9 1.9 0 0 1 .058.364c.264.037.388.188.388.471 0 .266-.131.531-.413.832-.077.083-.096.122-.096.199 0 .73.254.96 1.17 1.057a5.83 5.83 0 0 1 1.404.298c.355.106.559.15.691.15.156 0 .243-.057.243-.157 0-.153-.111-.201-.769-.34-1.531-.322-2.132-.845-2.132-1.854 0-.719.538-1.259 1.257-1.259.317 0 .6.097 1.048.355.416.241.502.282.597.282.111 0 .155-.071.155-.25 0-.116.035-.172.107-.172.066 0 .166.068.256.174.137.162.19.245.19.469 0 .299-.159.494-.471.58l-.074.082c-.17.192-.32.256-.59.256-.235 0-.53-.096-.732-.24l-.397-.28c-.171-.121-.296-.173-.416-.173-.169 0-.27.101-.27.27s.11.301.29.357l.372.116c.132.041.194.067.355.148l.185-.018a1.57 1.57 0 0 1 .699.174l.149.067.207.058c.469.131.851.656.851 1.168 0 .584-.379.946-.991.946l-.191-.009z" class="B" data-v-7c4b1471></path><g class="C" data-v-7c4b1471><path d="M8.218 25.961l.049-.1.116-.124a.61.61 0 0 0 .15-.427c0-.085-.015-.177-.043-.267a.67.67 0 0 1-.034-.146c0-.052.039-.102.079-.102.016 0 .039.015.062.042l.124.14c.077.087.103.103.199.124l.008-.115.008-.136a.96.96 0 0 0-.182-.558c-.066-.084-.096-.135-.096-.164s.022-.059.045-.059c.008 0 .02.006.034.017.08.059.121.084.143.084.04 0 .076-.1.076-.208a.77.77 0 0 0-.169-.461l-.099-.123c-.011-.016-.017-.032-.017-.047 0-.035.029-.061.072-.061.031 0 .05.008.102.041.024.016.047.025.063.025.064 0 .088-.09.088-.336l-.003-.102-.008-.149c-.009-.175-.025-.206-.099-.206H8.82c-.403 0-.591-.255-.695-.942-.075-.496-.26-.849-.487-.925-.136-.045-.184-.075-.184-.111 0-.023.038-.045.079-.045.03 0 .099.018.156.041.329.133.607.198.849.198.396 0 .708-.291.708-.66 0-.282-.134-.569-.376-.801a.47.47 0 0 0-.206-.124l-.016-.001-.042.014.017.119.032.083.009.034c0 .018-.017.032-.039.032s-.047-.013-.061-.034l-.149-.223c-.118-.176-.376-.323-.568-.323-.068 0-.111.03-.111.078 0 .023.022.066.05.097.042.048.075.105.075.132l-.009.033c-.009.019-.021.031-.033.033l-.008.001c-.04 0-.06-.018-.24-.223-.147-.168-.448-.332-.609-.332-.023 0-.044.01-.061.026-.01.011-.017.023-.017.032 0 .025.022.058.058.092.051.047.092.103.092.127 0 .016-.022.031-.046.031-.047 0-.153-.068-.351-.224-.308-.242-.446-.47-.446-.735 0-.319.228-.57.52-.57.171 0 .398.082.554.199l.405.305a1.07 1.07 0 0 0 .65.215c.052 0 .1-.012.143-.033.036-.018.058-.04.058-.055s-.031-.024-.075-.036c-.146-.035-.264-.085-.347-.148l-.413-.313-.323-.223c-.218-.114-.26-.141-.26-.167 0-.013.021-.024.047-.024s.047.006.073.017l.215.091a2.47 2.47 0 0 1 .347.206c.442.295.667.39.927.39.247 0 .429-.175.429-.413 0-.047-.012-.098-.034-.143l-.041-.082c-.014-.029-.041-.052-.049-.041l-.025.033-.025.174c-.001.007-.01.027-.025.058a.29.29 0 0 1-.057.082c-.045.044-.083.058-.152.058-.128 0-.271-.068-.658-.315s-.744-.379-1.024-.379A1.07 1.07 0 0 0 5.977 18c0 .827.505 1.2 2.09 1.546.603.131.868.308.868.576 0 .245-.198.399-.512.399a1.19 1.19 0 0 1-.224-.016 30.59 30.59 0 0 1-.851-.232c-.354-.098-.752-.154-1.103-.154-.622 0-1.041.185-1.326.584-.033.047-.066.075-.088.075s-.042-.012-.069-.033l-.115-.091a.56.56 0 0 0-.297-.113.26.26 0 0 0-.175.072c-.041.037-.072.057-.084.057-.046 0-.131-.104-.196-.239-.093-.193-.141-.386-.141-.562 0-.082.026-.14.062-.14.029 0 .05.022.062.066l.066.239c.037.134.112.239.169.239.025 0 .07-.036.12-.099.031-.038.053-.077.067-.116.052-.151.064-.173.105-.173.048 0 .073.03.106.181.007.028.016.07.054.142.033.062.067.113.099.149.025.027.056.042.085.042.073 0 .139-.121.139-.255l-.002-.035-.01-.153c0-.059.009-.077.043-.077.019 0 .034.01.058.04.035.046.083.085.141.115.05.027.091.041.118.041s.053-.015.08-.041.035-.044.035-.065-.03-.062-.117-.15c-.047-.048-.103-.16-.165-.33-.023-.065-.054-.109-.078-.109a.24.24 0 0 0-.054.018l-.107.041-.074.033-.028.006c-.035 0-.063-.025-.063-.057s.075-.121.166-.196c.065-.055.105-.136.107-.223.005-.139.031-.248.058-.248l.025-.289a2.98 2.98 0 0 1 .124-.569c.01-.03.023-.051.033-.051.023 0 .044.062.044.131l-.003.043-.005.084c0 .105.017.159.049.159s.077-.052.113-.143l.074-.19c.022-.056.033-.108.033-.154 0-.161-.096-.277-.23-.277l-.06.01-.058.017c-.043 0-.08-.048-.08-.104l.006-.119-.008-.165-.033-.173-.009-.083-.074.041-.091.075-.132.107-.108.091c-.019.016-.04.025-.061.025-.063 0-.071-.017-.071-.146v-.032c0-.104-.045-.185-.214-.384l-.042-.05-.032.058-.091.149-.091.231-.017.148c-.004.043-.021.076-.037.076s-.046-.022-.078-.059a.64.64 0 0 0-.355-.239l-.016.057-.05.174-.009.156v.066.053c0 .046-.017.073-.045.073l-.005-.001c-.003-.001-.019-.015-.049-.041-.019-.017-.054-.026-.1-.026-.154 0-.252.083-.252.215 0 .099.034.173.186.404.068.103.146.184.176.184.02 0 .037-.054.037-.117l-.015-.099a.41.41 0 0 1-.024-.126c0-.046.013-.071.039-.071.074 0 .151.214.183.512l.033.305a1.02 1.02 0 0 0 .099.33c.075.154.149.259.215.305.079.056.128.111.128.141s-.021.05-.044.05a5.64 5.64 0 0 1-.167-.059l-.069-.01c-.165 0-.22.094-.22.378a1.58 1.58 0 0 0 .488 1.044l.38.306c.193.154.339.411.339.595 0 .242-.265.479-.719.644l-.273.098c-.212.077-.297.214-.38.611a.68.68 0 0 1 .228-.042l.037.001.123.003c.111 0 .191-.067.191-.16v-.075c0-.022.031-.053.074-.075l.115-.058.091-.074c.014-.012.03-.019.046-.019.025 0 .045.024.045.051 0 .02-.006.046-.017.075-.028.073-.044.173-.044.284 0 .202.032.311.135.459.009-.055.018-.09.025-.107.017-.042.064-.117.141-.223.125-.175.217-.388.217-.503l-.003-.035-.025-.189c0-.034.015-.067.041-.091.018-.016.038-.024.057-.024.035 0 .057.021.085.082.019.046.043.074.059.074.029 0 .086-.076.122-.165.028-.066.041-.125.041-.175a.29.29 0 0 0-.025-.106.29.29 0 0 1-.026-.094c0-.021.007-.031.034-.055.014-.01.028-.017.042-.017s.033.007.049.017l.074.05c.025.017.048.025.066.025.033 0 .081-.037.116-.092.072-.11.117-.201.117-.235 0-.022-.014-.038-.059-.07-.164-.116-.273-.292-.273-.442 0-.035.008-.074.025-.119l.082-.223.066-.174.024-.009c.028 0 .045.023.045.064a.28.28 0 0 1-.019.094.54.54 0 0 0-.035.157c0 .059.03.091.086.091a.35.35 0 0 0 .138-.033c.25-.108.448-.166.567-.166.112 0 .182.025.3.108.031.022.058.034.076.034s.032-.013.048-.034c.01-.014.017-.029.017-.041 0-.03-.018-.069-.05-.107-.042-.052-.059-.085-.059-.117 0-.026.017-.043.044-.043.13 0 .333.41.527 1.059.152.513.195.565.685.843.415.234.573.466.573.843 0 .371-.103.846-.317 1.469-.067.197-.097.33-.097.44 0 .087.017.172.081.394l.057.19a.98.98 0 0 0 .065.124zm-1.916-1.156a1.38 1.38 0 0 1 .157-.281c.134-.201.182-.308.182-.404v-.133c0-.124.022-.182.072-.182a.05.05 0 0 1 .044.025l.042.066c.013.021.035.033.058.033s.069-.032.093-.069a.58.58 0 0 0 .096-.295l-.009-.091-.008-.093c0-.05.02-.072.068-.072.032 0 .046.013.073.075.017.04.042.066.062.066s.049-.018.069-.05l.066-.099.05-.075.012-.04c0-.023-.018-.044-.062-.076-.153-.11-.22-.28-.231-.587a2.62 2.62 0 0 0-.041-.454c-.005-.016-.054-.134-.149-.355a2.15 2.15 0 0 1-.099-.297c-.019-.076-.043-.1-.103-.1-.225 0-.394.192-.394.445 0 .149.062.384.175.67.159.401.201.544.201.686 0 .303-.121.435-.54.586-.473.169-.695.413-.777.85l.083-.033.115-.041.132-.033c.114-.028.205-.092.223-.157l.033-.115c.008-.028.024-.047.05-.058l.074-.033.074-.033.016.033-.033.107a.74.74 0 0 0-.017.192c0 .181.036.287.141.418zm-4.437-7.639l.017.093c0 .026-.011.097-.033.213l-.015.168a1.35 1.35 0 0 0 .072.435c.042.119.053.156.053.188l-.003.035c-.008.034-.02.059-.032.059s-.046-.018-.084-.052c-.095-.082-.198-.125-.305-.125a.81.81 0 0 0-.141.017l.041.091.124.306.174.264.181.125a.2.2 0 0 1 .05.049c.017.023.025.042.025.055s-.014.027-.033.028l-.166.008c-.025.001-.045.017-.045.035 0 .028.024.111.071.246l.083.24.14.132.148.108c.044.031.07.067.07.093s-.014.046-.029.047l-.082.008c-.027.003-.042.026-.042.066 0 .062.058.174.166.322.128.174.218.232.364.232h.124c.059 0 .095.029.095.076 0 .039-.025.061-.079.073-.114.024-.149.047-.149.1 0 .021.015.053.042.09l.067.091c.055.075.117.125.157.125.022 0 .074-.023.121-.076.074-.085.159-.154.268-.181.287-.073.347-.103.347-.169 0-.023-.011-.056-.033-.095-.091-.164-.124-.27-.124-.404 0-.103-.027-.175-.064-.175-.015 0-.041.025-.068.067-.068.104-.184.174-.289.174-.286 0-.631-.448-.801-1.041a1.65 1.65 0 0 1-.061-.445 2.32 2.32 0 0 1 .061-.504l.091-.405.011-.112c0-.205-.189-.468-.481-.673z" data-v-7c4b1471></path><path d="M2.46 18.315c-.061.115-.117.374-.117.538 0 .096.031.173.072.173.013 0 .03-.016.045-.041l.091-.166.059-.101c.033-.049.057-.097.057-.123 0-.098-.091-.219-.207-.28zm.907 3.723l.041.041.066.066c.161.167.185.183.263.183.072 0 .222-.041.307-.084.036-.018.058-.04.058-.057 0-.011-.03-.044-.082-.091l-.091-.083c-.069-.062-.171-.12-.22-.12-.095 0-.192.042-.342.145zm1.918 1.495a.82.82 0 0 1 .165.083l.132.082c.025.011.07.017.131.017.038 0 .072-.006.1-.017l.174-.066.165-.058c.044-.016.075-.041.075-.064 0-.012-.037-.03-.091-.043-.037-.01-.079-.023-.124-.041-.203-.082-.233-.094-.305-.094a.55.55 0 0 0-.422.201zm2.092 1.66c.055-.133.093-.155.281-.166.212-.012.414-.391.414-.648 0-.025-.009-.047-.019-.047s-.03.01-.056.027l-.123.074-.24.107c-.16.071-.301.285-.301.453a.57.57 0 0 0 .045.2z" data-v-7c4b1471></path></g><g class="B" data-v-7c4b1471><path d="M3.807 18.018l.082.116a.78.78 0 0 0 .179.129c.025 0 .038-.018.053-.071l.033-.125.009-.138c0-.109-.048-.15-.273-.208-.056-.015-.079-.013-.115-.042s-.079-.05-.099-.05-.034.01-.034.023l.009.037.041.123.116.207zm.883-.001l-.108.191-.041.045-.008.001c-.044 0-.088-.1-.091-.204l-.016-.164c.013-.068.053-.098.156-.116.084-.015.14-.031.166-.049l.132-.091.014-.003c.022 0 .038.015.038.04l-.003.011-.058.141-.182.197z" data-v-7c4b1471></path><path d="M4.474 18.579l.132-.066c.024-.012.045-.018.063-.018.064 0 .112.048.112.134 0 .094-.074.221-.175.403-.109.197-.191.331-.276.331-.119 0-.287-.189-.451-.505a.54.54 0 0 1-.063-.23c0-.104.046-.159.133-.159.036 0 .07.008.095.026l.074.05a.39.39 0 0 0 .21.066c.052 0 .101-.011.145-.033z" data-v-7c4b1471></path></g><path d="M4.384 18.761s.076.016.076.067l-.002.024-.025.123c-.027.165-.065.267-.119.267a.08.08 0 0 1-.063-.035c-.085-.12-.15-.274-.15-.358 0-.059.026-.089.079-.089l.014.001.091.016.099-.016z" class="C" data-v-7c4b1471></path><path d="M23.617 5.468l.033.124.067.264c.104.472.191.595.421.595.131 0 .24-.073.273-.182l.049-.166c.011-.038.04-.06.079-.06.09 0 .138.099.145.299.002.076.019.211.049.404.023.139.033.267.033.382 0 .084-.01.133-.049.237l.016.099c.028.163.035.227.035.303 0 .354-.017.459-.101.597.034.135.044.199.044.296a2.47 2.47 0 0 1-.027.291l-.033.248.008.148c.022.055.033.089.033.099 0 .023-.015.041-.033.041l-.165-.066-.182-.099c-.059-.032-.1-.064-.19-.148-.16.141-.183.154-.373.206-.274.076-.375.11-.429.149s-.093.057-.114.057c-.064 0-.109-.124-.109-.306 0-.264.015-.401.058-.504-.161-.054-.242-.074-.3-.074a.69.69 0 0 0-.121.016l-.037.004c-.024 0-.038-.029-.038-.079 0-.081.057-.242.133-.378.103-.184.274-.338.405-.364l.297-.057c.176-.034.281-.128.281-.251s-.077-.197-.257-.261l-.347-.124c-.117-.042-.227-.094-.331-.157l-.181-.108c-.03-.016-.062-.024-.09-.024-.073 0-.118.054-.118.141 0 .14.108.255.24.255.03 0 .058-.006.084-.017a.27.27 0 0 1 .076-.025c.038 0 .065.036.065.089a1.04 1.04 0 0 1-.19.522l-.099.124-.075.099c-.027.213-.236.517-.446.652-.051.032-.082.054-.091.066s-.029.047-.066.116c-.017.032-.073.098-.166.198a1.55 1.55 0 0 1-.206.19c-.092.07-.148.121-.165.149l-.083.141c-.017.029-.038.043-.065.043-.074 0-.142-.077-.183-.207-.03-.097-.057-.125-.12-.125a.64.64 0 0 0-.145.025l-.115.016h-.29c-.156 0-.365.038-.463.084-.037.018-.066.026-.085.026-.043 0-.064-.043-.064-.126 0-.262.202-.659.464-.916-.039-.152-.119-.254-.223-.28l-.149-.041c-.015-.008-.025-.023-.025-.039 0-.053.059-.105.19-.167.235-.111.303-.132.434-.132.15 0 .276.051.433.174.224.174.285.207.393.207.176 0 .345-.161.345-.331 0-.114-.063-.241-.218-.438-.22-.281-.298-.464-.298-.702 0-.16.032-.247.174-.478.022-.037.035-.068.035-.089 0-.045-.075-.086-.159-.086-.088 0-.198.032-.347.1-.249.114-.397.22-.397.285 0 .026.015.052.041.07l.083.058c.01.007.017.02.017.034s-.016.043-.034.064-.072.09-.165.215a1.89 1.89 0 0 1-.346.363c-.045.034-.072.062-.084.083l-.066.124c-.055.103-.218.274-.356.371l-.115.091a.75.75 0 0 0-.075.115c-.084.151-.217.338-.305.429l-.223.231c-.064.066-.154.257-.24.511-.068.2-.111.29-.142.29-.014 0-.037-.018-.064-.05-.16-.183-.305-.298-.375-.298-.018 0-.051.015-.096.042-.063.038-.138.067-.223.083l-.297.057c-.249.049-.348.102-.463.248-.029.036-.053.057-.066.057-.029 0-.051-.043-.051-.1l.008-.072c.002-.008.016-.082.042-.223.043-.235.103-.43.165-.537l.149-.256c.026-.046.041-.093.041-.133 0-.19-.178-.345-.447-.387-.055-.008-.083-.028-.083-.06 0-.038.065-.111.166-.188.175-.132.368-.215.505-.215.092 0 .215.032.379.099l.182.074a.49.49 0 0 0 .184.043c.192 0 .379-.175.609-.57.104-.18.149-.308.149-.425 0-.209-.097-.335-.26-.335-.128 0-.25.054-.351.156-.09.091-.137.182-.137.264l.005.084.003.044c0 .067-.023.097-.072.097-.062 0-.135-.061-.278-.232l-.232-.272c-.251-.294-.303-.411-.314-.711-.28-.357-.35-.555-.35-.762l.011-.17c-.201-.241-.24-.334-.24-.572 0-.107.006-.135.05-.221-.099-.145-.13-.21-.157-.322l-.041-.174a.9.9 0 0 0-.132-.305c-.074-.106-.083-.122-.083-.153 0-.086.083-.142.29-.193l.066-.017-.017-.183c0-.048.006-.094.025-.197l.058-.306c.022-.119.034-.21.034-.271 0-.07-.011-.127-.05-.257-.025-.084-.054-.148-.082-.19s-.05-.084-.05-.109.028-.05.066-.05c.02 0 .055.01.083.027.279.152.584.393.801.636.187.208.247.381.289.843.253.188.348.358.348.626 0 .159-.052.313-.166.488l-.165.256c-.049.083-.075.179-.075.279 0 .149.045.289.157.488.123.219.234.314.365.314.217 0 .413-.374.413-.786l-.002-.081v-.223l.025-.198.016-.24.016-.199.006-.11c0-.081-.017-.105-.271-.376-.28-.3-.413-.554-.413-.789 0-.222.191-.408.42-.408a.6.6 0 0 1 .175.032v-.099l.009-.174.049-.214c.04-.171.058-.203.117-.203l.041.013.149.132.181.116.05.049c.012-.103.021-.124.107-.232l.115-.157.083-.124.05-.074c.033-.05.047-.063.069-.063s.038.029.064.121c.011.037.036.075.074.107l.108.091c.087.074.145.183.181.339a.49.49 0 0 1 .165-.149l.133-.074c.049-.028.079-.042.088-.042s.023.02.037.05c.019.043.041.085.066.124.106.171.116.196.116.311v.069.099c.268.074.372.218.372.514 0 .222-.102.451-.315.707-.141.17-.165.222-.165.35 0 .582.439.935 1.181.946l.545.008a2.67 2.67 0 0 1 .901.148c.382.125.507.158.623.158.084 0 .154-.047.154-.103 0-.119-.2-.212-.868-.401-1.361-.384-1.942-.935-1.942-1.836 0-.698.583-1.237 1.336-1.237a2.88 2.88 0 0 1 .82.141l.338.124a.52.52 0 0 0 .178.035c.117 0 .161-.073.178-.291.008-.097.039-.14.101-.14.087 0 .256.136.378.306s.215.404.215.554c0 .176-.092.31-.29.421-.185.282-.413.412-.72.412-.235 0-.635-.159-1.139-.454-.198-.116-.285-.148-.395-.148-.149 0-.244.083-.244.214 0 .119.088.194.334.28.391.139.475.185.587.323.421.073.604.146.868.346.754.242 1.174.707 1.174 1.303 0 .543-.368.935-.88.935a1.59 1.59 0 0 1-.402-.049z" class="B" data-v-7c4b1471></path><g class="C" data-v-7c4b1471><path d="M24.436 9.084a.58.58 0 0 1-.026-.152l.009-.112.026-.321c0-.061-.018-.109-.06-.166l-.099-.132c-.064-.087-.09-.151-.09-.225 0-.048.011-.064.044-.064l.038.008.074.041c.034.019.062.028.083.028.05 0 .075-.077.075-.232 0-.215-.04-.318-.165-.415l-.115-.091c-.02-.016-.034-.043-.034-.067 0-.04.023-.065.061-.065.023 0 .056.007.096.017l.091.025.035.008c.028 0 .041-.022.041-.07l-.002-.029-.025-.174c-.026-.18-.056-.249-.109-.249l-.015.002-.215.041-.036.003c-.258 0-.562-.245-.641-.515l-.157-.537c-.047-.161-.187-.338-.397-.504-.069-.053-.129-.085-.173-.09l-.148-.017c-.027-.003-.045-.019-.045-.04 0-.034.029-.05.09-.05a2.35 2.35 0 0 1 .732.14c.271.089.419.121.552.121.414 0 .663-.216.663-.573 0-.179-.065-.404-.157-.548-.081-.124-.216-.251-.389-.363-.025-.017-.048-.026-.065-.026-.023 0-.042.018-.042.042l.008.107v.01c0 .04-.023.073-.053.073-.046 0-.093-.054-.146-.165-.152-.323-.398-.517-.65-.517-.055 0-.087.019-.087.053 0 .025.015.063.043.109a1.02 1.02 0 0 1 .074.148c.013.032.02.056.02.071s-.013.024-.038.024c-.037 0-.098-.034-.139-.077l-.124-.132-.107-.166a.79.79 0 0 0-.33-.289l-.207-.107c-.041-.022-.078-.033-.105-.033s-.039.013-.039.038.013.059.037.095a.42.42 0 0 1 .076.165c0 .028-.018.05-.041.05-.058 0-.162-.104-.307-.305a.78.78 0 0 1-.158-.464c0-.348.268-.619.613-.619.177 0 .399.074.618.207l.397.24c.142.086.334.149.453.149.066 0 .085-.004.233-.042a.4.4 0 0 0 .107-.041.06.06 0 0 0 .03-.049c0-.032-.02-.047-.072-.05-.184-.014-.566-.164-.817-.323l-.273-.156c-.068-.024-.114-.059-.114-.088 0-.013.014-.02.036-.02l.048.008.36.132.347.124a2.18 2.18 0 0 0 .555.116c.157 0 .265-.108.265-.265 0-.079-.02-.168-.052-.23-.05-.099-.116-.182-.143-.182s-.05.033-.05.088l.004.044.01.106c0 .111-.061.184-.156.184a.46.46 0 0 1-.135-.026l-.537-.173c-.467-.151-.648-.19-.878-.19-.649 0-1.139.438-1.139 1.022 0 .658.452 1.071 1.612 1.472 1.125.39 1.272.479 1.272.775 0 .17-.16.307-.359.307a1 1 0 0 1-.194-.017l-.562-.132c-.345-.084-.637-.116-1.027-.116-.819 0-1.214.125-1.642.521-.099.092-.139.109-.249.109l-.056-.002-.13-.008c-.099 0-.174.047-.234.149l-.132.223c-.018.031-.054.049-.095.049-.086 0-.131-.057-.212-.256a.64.64 0 0 0-.165-.249l-.174-.149c-.026-.023-.041-.044-.041-.06s.015-.044.041-.08a.84.84 0 0 0 .075-.115c.026-.047.039-.081.041-.1l.008-.074c.006-.024.03-.041.059-.041.055 0 .064.036.066.24a.59.59 0 0 0 .066.223l.091.198c.012.026.041.042.075.042.086 0 .194-.201.223-.413.024-.176.043-.232.079-.232s.049.021.119.166c.022.044.056.087.099.124s.075.054.099.058h.009c.068 0 .091-.043.107-.199l.008-.082-.016-.116-.011-.08c0-.053.018-.085.049-.085.018 0 .04.012.062.033l.082.083c.055.055.111.083.166.083.071 0 .115-.031.115-.081 0-.041-.009-.061-.082-.183a2.51 2.51 0 0 1-.058-.107c-.073-.139-.108-.174-.173-.174l-.084.008-.107.041c-.032.012-.054.019-.066.019s-.025-.014-.025-.033c0-.074.049-.192.141-.336.057-.09.104-.311.14-.649l.042-.388c.025-.238.051-.323.099-.323.017 0 .031.007.033.017l.024.124v.099c0 .12.013.218.028.218.035 0 .087-.041.137-.111.036-.05.063-.106.083-.165.027-.089.042-.161.042-.217 0-.191-.081-.273-.339-.345-.026-.007-.043-.016-.049-.025l-.009-.074v-.14l-.017-.1-.032-.083-.042-.091-.066.041c-.169.106-.21.138-.265.206-.075.095-.101.119-.132.119-.023 0-.041-.016-.041-.036l.033-.141.003-.024c0-.181-.102-.356-.284-.487l-.058.066-.058.083-.099.116a.39.39 0 0 0-.092.245l.001.027.001.028c0 .065-.01.088-.041.088l-.018-.008-.066-.082-.082-.099-.149-.091-.074-.058c-.08.173-.083.191-.083.414v.069c0 .074-.024.119-.064.119-.019 0-.054-.014-.101-.041-.037-.021-.082-.034-.123-.034-.12 0-.209.102-.209.241 0 .151.032.255.133.42.065.107.15.194.19.194.005 0 .015-.076.025-.177l-.025-.14-.005-.063c0-.053.019-.086.05-.086.046 0 .075.051.104.19l.066.306.066.388a1.54 1.54 0 0 0 .099.33 1.66 1.66 0 0 0 .14.289c.092.118.102.134.102.16 0 .02-.017.038-.036.038s-.043-.009-.075-.025a.32.32 0 0 0-.099-.033l-.06-.009c-.137 0-.165.11-.165.658 0 .342.071.798.159 1.019l.174.438a.56.56 0 0 1 .042.205c0 .604-.817 1.569-1.678 1.983-.335.161-.434.328-.463.784a1.57 1.57 0 0 1 .289-.116c.244-.068.296-.103.33-.215l.033-.107c.015-.046.045-.068.215-.157.064-.033.109-.07.132-.107.043-.071.076-.106.098-.106s.036.016.036.043l-.002.013-.091.236-.01.058c0 .173.097.317.275.408l.024-.099c.029-.126.058-.209.083-.248l.158-.231c.057-.084.067-.139.067-.352l-.009-.26-.005-.066c0-.043.02-.066.058-.066.029 0 .053.011.055.025l.024.157c.006.033.04.058.081.058.08 0 .182-.102.291-.289.042-.073.059-.13.059-.197a1.9 1.9 0 0 0-.026-.257l-.003-.049c0-.041.024-.067.063-.067.021 0 .037.007.04.016l.058.191c.019.063.063.107.108.107.127 0 .258-.259.272-.537.008-.174.03-.235.083-.235.021 0 .036.008.041.02l.033.107c.012.039.036.065.059.065s.063-.037.115-.099a.83.83 0 0 0 .074-.107c.016-.029.024-.059.024-.087 0-.042-.009-.053-.074-.103s-.091-.104-.091-.173c0-.12.051-.248.198-.504.135-.232.153-.259.186-.259s.055.031.055.07c0 .024-.006.049-.017.072-.022.048-.034.081-.034.099 0 .032.029.059.066.059a.34.34 0 0 0 .15-.05 1.66 1.66 0 0 1 .223-.091l.281-.099c.052-.016.111-.025.17-.025.048 0 .096.006.144.017.094.022.158.034.19.034a.13.13 0 0 0 .133-.131.35.35 0 0 0-.051-.143l-.074-.115c-.036-.038-.051-.059-.051-.074l.009-.033c.01-.02.028-.033.047-.033.065 0 .193.133.308.323.648 1.057.962 1.391 1.438 1.535.496.15.613.255.613.551 0 .157-.083.346-.258.588-.33.458-.447.726-.447 1.031l.001.068.091-.042c.068-.034.112-.054.133-.058l.206-.041c.065-.013.117-.09.117-.173l-.001-.016-.016-.182-.002-.029c0-.102.05-.187.112-.187.023 0 .049.021.063.05l.132.28c.053.115.116.17.288.248zM17.663 3.42l-.008.132-.002.081c0 .134.021.192.071.192s.141-.102.179-.215a.84.84 0 0 0 .042-.224.41.41 0 0 0-.042-.156c-.037-.09-.075-.132-.121-.132-.071 0-.104.091-.118.322z" data-v-7c4b1471></path><path d="M17.089 1.893l.116.115c.169.169.285.513.285.846l-.004.137-.025.388-.008.325c0 1.079.314 1.815.776 1.815.116 0 .258-.107.356-.265.021-.034.049-.06.066-.06.026 0 .039.022.041.068l.017.182.016.156.025.174.025.162c0 .083-.017.092-.215.119a.55.55 0 0 0-.231.091c-.128.082-.203.139-.215.165l-.091.19c-.012.024-.032.041-.053.041-.048 0-.113-.073-.204-.231-.084-.146-.121-.23-.121-.269 0-.026.021-.037.072-.037h.017l.099.008.074-.008.067-.008c.028-.007.049-.031.049-.061 0-.02-.013-.038-.033-.046l-.372-.158c-.089-.038-.185-.134-.272-.272-.095-.152-.151-.285-.151-.36 0-.059.025-.097.065-.097.016 0 .037.006.061.019a.31.31 0 0 0 .097.033c.014 0 .03-.006.044-.017s.025-.027.025-.04c0-.024-.025-.055-.066-.085-.309-.219-.497-.485-.497-.704 0-.064.015-.094.047-.094l.061.006c.045.009.099.017.116.017.045 0 .076-.025.076-.064 0-.024-.03-.054-.076-.076-.206-.103-.257-.162-.388-.455-.101-.224-.153-.318-.24-.429.108-.052.166-.067.257-.067.113 0 .184.074.264.273.05.126.105.211.137.211.015 0 .021-.026.021-.095a.96.96 0 0 0-.034-.248c-.02-.075-.029-.137-.024-.182l-.017-.116-.091-.05c-.084-.045-.141-.154-.141-.271a.61.61 0 0 1 .017-.15l.05-.191a1.6 1.6 0 0 0 .059-.349v-.071l.074.082zm.992 5.953a1.22 1.22 0 0 1-.396-.123.75.75 0 0 0-.31-.084c-.131 0-.231.041-.351.141l.074.057.166.116.158.124c.04.032.089.05.139.05.162 0 .299-.074.522-.281zm3.182 1.502a.47.47 0 0 1 .165-.215c.231-.198.339-.345.339-.462v-.083-.099c0-.106.017-.141.073-.141.025 0 .045.01.051.025l.041.098c.01.023.036.037.07.037.059 0 .101-.042.203-.21.043-.071.061-.117.061-.164 0-.029-.006-.061-.02-.093l-.058-.131a.4.4 0 0 1-.034-.129c0-.054.027-.086.074-.086.025 0 .047.01.06.026l.065.082c.015.018.019.029.044.029s.085-.029.106-.07l.066-.132c.017-.033.025-.059.025-.075 0-.028-.026-.056-.067-.073l-.116-.05c-.135-.058-.248-.291-.248-.512 0-.025.009-.061.025-.107l.05-.141a.41.41 0 0 0 .025-.137c0-.081-.025-.159-.082-.251l-.099-.173c-.048-.123-.076-.164-.117-.164-.029 0-.057.011-.106.039l-.083.05-.116.133-.116.057c-.069.035-.135.184-.135.309 0 .178.039.275.309.757.114.204.168.355.168.47 0 .336-.343.613-.903.727-.669.137-.815.248-.892.678.116-.06.162-.068.366-.068l.121.002h.019c.111 0 .125-.008.196-.107a.62.62 0 0 1 .273-.23l.132-.058.107-.058.033-.009c.03 0 .046.012.046.035 0 .028-.027.076-.079.139-.08.097-.126.196-.126.272 0 .11.018.166.085.265z" data-v-7c4b1471></path><path d="M20.223 8.069c.095.059.191.145.248.223.079.108.09.116.169.116a.52.52 0 0 0 .12-.017l.074-.016c.141-.027.183-.047.183-.085 0-.023-.013-.046-.035-.064l-.099-.082-.091-.083a.44.44 0 0 0-.261-.092c-.103 0-.186.027-.309.1zm2.675.446l.049-.009.083-.008.066.008.045.003c.084 0 .127-.009.162-.036.051-.039.104-.101.157-.19.021-.035.032-.068.032-.094 0-.056-.051-.088-.141-.088-.227 0-.366.126-.454.413z" data-v-7c4b1471></path></g><g class="B" data-v-7c4b1471><path d="M19.816 2.81c.009.077.049.14.09.14.035 0 .09-.118.176-.263.117-.199.214-.365.214-.471 0-.035-.018-.062-.041-.062l-.009.003-.091.084a.94.94 0 0 1-.273.148c-.106.038-.136.07-.136.14l.012.067.069.143-.011.072zm-.724-.611c-.029-.024-.07-.042-.092-.042-.035 0-.05.018-.05.06l.002.024c.006.045.018.092.032.14a.72.72 0 0 0 .109.231l.125.209a.43.43 0 0 0 .18.114l.006.001c.022 0 .041-.014.043-.034l.026-.165.041-.149.005-.035c0-.04-.023-.076-.062-.096l-.141-.075-.222-.181z" data-v-7c4b1471></path><path d="M19.637 3.248h-.044l-.096-.009c-.003-.001-.037-.021-.1-.059-.037-.022-.077-.033-.116-.033-.076 0-.121.047-.121.126 0 .062.037.182.105.344l.108.264c.091.231.185.33.31.33.107 0 .193-.088.26-.263l.091-.372c.044-.116.153-.164.153-.245 0-.095-.106-.186-.196-.186l-.048.009-.124.084-.182.008z" data-v-7c4b1471></path></g><path d="M19.627 3.477h-.099c-.015 0-.03.009-.041.025-.016.023-.025.038-.025.041l.041.198.033.173c.019.095.034.133.105.133.081 0 .15-.055.159-.157l.017-.182.016-.188c0-.018-.009-.036-.024-.051s-.027-.018-.043-.018l-.007.001-.132.025z" class="C" data-v-7c4b1471></path><path d="M8.2 5.467l.033.124.066.264c.104.472.192.595.421.595.131 0 .24-.073.273-.182l.05-.166c.011-.038.04-.06.079-.06.089 0 .131.093.135.3.002.059.021.194.059.404.022.124.032.245.032.36a.59.59 0 0 1-.049.259c.028.162.05.38.05.506 0 .204-.038.394-.099.493a1.04 1.04 0 0 1 .042.311 1.55 1.55 0 0 1-.026.275l-.044.285a.35.35 0 0 0 .019.111c.016.047.025.081.025.099 0 .023-.011.041-.025.041l-.165-.066-.182-.099c-.059-.032-.099-.064-.19-.148-.161.144-.208.166-.628.281-.084.022-.146.048-.182.074-.052.037-.09.057-.11.057-.071 0-.105-.114-.105-.35 0-.175.018-.337.05-.46a.94.94 0 0 0-.295-.074 1.68 1.68 0 0 0-.126.016l-.031.003c-.024 0-.044-.036-.044-.079 0-.032.022-.112.051-.179l.082-.198c.03-.072.098-.154.198-.239a.53.53 0 0 1 .215-.125l.297-.057c.177-.034.282-.128.282-.251s-.08-.199-.257-.261l-.356-.124a1.91 1.91 0 0 1-.323-.157c-.197-.117-.23-.132-.277-.132-.071 0-.112.054-.112.147 0 .147.096.25.232.25.028 0 .056-.006.083-.017.04-.016.069-.025.085-.025.037 0 .058.022.058.063l-.002.036-.017.14c-.014.12-.092.265-.264.496l-.074.099a1.14 1.14 0 0 1-.446.652l-.091.066c-.007.008-.029.047-.066.116-.017.032-.072.098-.165.198-.07.076-.139.139-.207.19-.092.07-.148.121-.165.149l-.083.141c-.015.025-.04.041-.067.041-.073 0-.14-.076-.182-.206-.03-.097-.057-.125-.12-.125-.032 0-.081.009-.144.025l-.116.016h-.298c-.148 0-.358.039-.454.084-.038.018-.067.026-.085.026s-.033-.011-.055-.051c-.015-.028-.018-.041-.018-.066 0-.151.108-.435.249-.661.09-.143.119-.176.223-.264-.033-.14-.123-.249-.231-.28l-.141-.041c-.019-.006-.033-.022-.033-.04 0-.043.067-.102.191-.167.161-.085.324-.132.454-.132.137 0 .27.054.422.174.224.175.284.207.393.207.177 0 .345-.162.345-.331 0-.113-.06-.234-.218-.438-.23-.298-.299-.452-.299-.671 0-.136.042-.309.093-.386l.083-.123c.017-.028.028-.055.028-.08 0-.055-.064-.095-.149-.095-.13 0-.381.093-.581.215-.099.061-.166.132-.166.176 0 .026.013.05.034.064l.091.058c.011.007.018.02.018.034s-.014.038-.034.064l-.165.215a2.76 2.76 0 0 1-.347.363.57.57 0 0 0-.083.083c-.001.001-.023.042-.066.124a1.3 1.3 0 0 1-.364.371c-.061.042-.099.072-.115.091s-.034.053-.066.115c-.021.04-.057.098-.108.173-.081.12-.148.205-.198.256L3.4 8.67c-.071.071-.133.209-.231.511-.058.183-.111.29-.142.29-.014 0-.037-.018-.065-.051-.164-.187-.305-.298-.379-.298-.017 0-.048.014-.092.042-.061.038-.136.067-.223.083l-.305.057c-.231.044-.322.094-.455.248-.032.036-.058.057-.072.057-.025 0-.044-.041-.044-.096l.008-.077.042-.223c.044-.239.098-.416.165-.537l.14-.256c.028-.05.042-.095.042-.134 0-.19-.197-.365-.437-.387-.061-.005-.084-.02-.084-.054 0-.042.067-.125.159-.193.165-.126.382-.215.52-.215.084 0 .213.035.371.099l.182.074a.49.49 0 0 0 .184.043c.192 0 .379-.175.609-.57.104-.179.149-.308.149-.424 0-.208-.099-.336-.262-.336a.53.53 0 0 0-.357.156c-.083.084-.127.172-.127.256l.003.092.001.02c0 .077-.026.12-.072.12-.078 0-.191-.111-.516-.504-.242-.293-.296-.418-.306-.711-.28-.357-.35-.508-.35-.762l.011-.17c-.194-.233-.249-.36-.249-.574 0-.078.013-.124.059-.218-.099-.145-.13-.21-.157-.322l-.041-.174c-.028-.118-.073-.22-.132-.305-.075-.107-.083-.121-.083-.158 0-.096.066-.134.356-.205-.012-.08-.017-.142-.017-.183 0-.048.006-.094.025-.197l.058-.306c.023-.123.035-.211.035-.264s-.009-.098-.06-.263a.9.9 0 0 0-.074-.19c-.027-.042-.05-.094-.05-.113 0-.029.02-.045.057-.045.082 0 .298.131.522.316.474.392.572.549.637 1.023l.025.166c.227.167.347.369.347.585a1.03 1.03 0 0 1-.165.529l-.166.256a.5.5 0 0 0-.074.273c0 .155.045.298.157.494.127.223.235.314.368.314.218 0 .409-.379.409-.81v-.058l-.001-.149c0-.084.005-.167.018-.272l.024-.24.009-.199.003-.13c0-.046-.024-.093-.086-.158l-.181-.198c-.263-.287-.407-.556-.407-.757a.42.42 0 0 1 .422-.439.6.6 0 0 1 .175.032v-.056c0-.364.075-.633.175-.633l.04.013.149.132.181.116.05.049c0-.102.005-.113.108-.232.025-.028.063-.081.115-.157l.082-.124.042-.074c.022-.042.044-.062.068-.062s.042.03.072.12c.019.056.032.071.174.198.049.044.083.081.098.108s.036.078.067.164l.025.067a.5.5 0 0 1 .165-.149l.124-.074c.046-.028.078-.043.092-.043s.026.02.041.05.035.07.066.124c.088.153.117.227.117.299l-.002.081V1.9c.271.085.373.225.373.517 0 .21-.11.451-.323.705-.142.169-.158.202-.158.32 0 .611.426.965 1.175.976l.553.008c.356.006.569.041.9.148.393.128.507.158.621.158.038 0 .076-.012.107-.034s.049-.049.049-.073c0-.116-.203-.209-.867-.397-1.363-.386-1.941-.934-1.941-1.836 0-.697.58-1.237 1.33-1.237a2.89 2.89 0 0 1 .826.141l.338.124c.062.023.122.035.178.035.115 0 .174-.096.177-.291.003-.104.026-.14.094-.14.095 0 .242.119.377.306s.224.401.224.542c0 .188-.088.319-.29.432-.185.282-.414.412-.72.412-.239 0-.578-.135-1.139-.454-.196-.111-.295-.148-.398-.148-.146 0-.241.084-.241.214 0 .119.092.196.334.28.357.125.445.174.586.323.421.073.604.146.868.346.725.23 1.175.724 1.175 1.291 0 .551-.373.947-.892.947a1.6 1.6 0 0 1-.391-.05z" class="B" data-v-7c4b1471></path><g class="C" data-v-7c4b1471><path d="M9.021 9.083a.91.91 0 0 1-.03-.199l.006-.065.025-.132.009-.107c0-.115-.019-.196-.058-.248L8.872 8.2c-.032-.044-.061-.097-.082-.158-.011-.03-.017-.054-.017-.069 0-.037.023-.061.06-.061.022 0 .031.004.106.048.032.019.06.028.081.028.049 0 .076-.08.076-.22 0-.159-.015-.248-.05-.288l-.124-.14-.107-.091c-.026-.022-.044-.05-.044-.072 0-.035.027-.06.067-.06s.117.018.183.042l.038.008c.034 0 .047-.02.047-.068l-.002-.03-.025-.174-.049-.181c-.016-.059-.025-.068-.063-.068l-.021.003-.206.041-.033.003c-.271 0-.557-.228-.644-.515l-.165-.537c-.051-.166-.175-.323-.397-.504-.067-.055-.124-.086-.165-.09l-.149-.017c-.027-.003-.045-.019-.045-.041 0-.034.032-.049.103-.049l.272.024a2.14 2.14 0 0 1 .446.116c.247.085.414.121.554.121.413 0 .661-.223.661-.597 0-.256-.134-.545-.338-.731-.117-.104-.233-.182-.273-.182-.023 0-.042.019-.042.044l.008.105v.01c0 .041-.024.073-.057.073-.042 0-.089-.054-.143-.165-.156-.325-.404-.518-.661-.518-.043 0-.074.018-.074.044 0 .017.013.057.041.119l.066.148a.28.28 0 0 1 .027.076c0 .009-.016.018-.035.018-.038 0-.098-.034-.14-.078l-.123-.132-.108-.166c-.086-.132-.155-.192-.339-.289l-.198-.107c-.038-.022-.073-.033-.103-.033s-.044.014-.044.043.011.058.032.09c.061.094.085.141.085.166s-.019.049-.043.049c-.064 0-.197-.13-.315-.305-.097-.145-.149-.307-.149-.464 0-.355.259-.619.61-.619.181 0 .41.077.621.207l.388.24a1.02 1.02 0 0 0 .452.149 1.11 1.11 0 0 0 .242-.042c.036-.01.07-.023.099-.041.023-.014.039-.032.039-.046s-.009-.032-.023-.036l-.049-.016-.182-.034c-.047-.008-.122-.036-.223-.083l-.414-.206a1.61 1.61 0 0 0-.272-.156c-.067-.023-.109-.053-.109-.079s.013-.036.037-.036.054.011.088.032c.122.076.228.116.306.116l.355.124c.176.062.433.116.549.116.15 0 .271-.122.271-.273a.72.72 0 0 0-.143-.362c-.019-.027-.039-.042-.056-.042-.033 0-.051.024-.051.066l.008.067.013.098c0 .107-.072.191-.164.191a.44.44 0 0 1-.13-.026l-.537-.173c-.45-.145-.658-.19-.884-.19-.642.001-1.132.442-1.132 1.022 0 .657.462 1.081 1.603 1.472 1.123.385 1.281.479 1.281.768 0 .166-.168.314-.356.314a1.03 1.03 0 0 1-.198-.017l-.562-.132a4.18 4.18 0 0 0-1.028-.116c-.81 0-1.26.142-1.649.521-.097.095-.129.109-.241.109l-.056-.002-.116-.008h-.015c-.097 0-.169.045-.233.149l-.141.223c-.023.031-.058.049-.094.049-.074 0-.119-.056-.203-.256a.7.7 0 0 0-.173-.249l-.165-.149c-.027-.024-.042-.046-.042-.063s.012-.045.033-.077c.079-.115.107-.166.116-.215.022-.11.025-.115.071-.115s.066.051.07.24a.6.6 0 0 0 .067.223l.091.198c.011.026.041.042.074.042.085 0 .194-.201.223-.413.024-.177.042-.232.079-.232.015 0 .029.006.036.017s.034.061.074.148a.33.33 0 0 0 .108.124.34.34 0 0 0 .099.058l.01.001c.067 0 .09-.044.106-.2l.008-.082-.017-.116-.012-.08c0-.053.019-.085.049-.085.018 0 .04.012.062.033l.083.083c.055.054.11.082.163.082.069 0 .111-.028.111-.073 0-.04-.015-.079-.076-.191l-.058-.107c-.066-.125-.119-.174-.181-.174l-.083.008-.099.041c-.03.012-.052.019-.065.019s-.026-.014-.026-.033c0-.074.048-.191.14-.336.065-.105.11-.328.132-.649.028-.431.086-.711.146-.711.041 0 .057.035.057.127l-.004.113-.003.079c0 .077.017.139.037.139.071 0 .155-.105.222-.276.028-.072.043-.128.043-.168l-.009-.038-.165-.306-.165-.049c-.031-.009-.051-.023-.058-.037V1.9v-.09l-.016-.1-.033-.083-.041-.091c-.181.098-.267.163-.331.247s-.101.12-.133.12c-.021 0-.04-.02-.04-.044s.008-.065.025-.134l.005-.046c0-.178-.108-.352-.286-.465l-.05.066-.058.083-.099.116a.48.48 0 0 0-.083.165.32.32 0 0 0-.017.094v.013l.001.03c0 .069-.007.086-.038.086l-.02-.009-.058-.082-.09-.099-.14-.091-.074-.058-.033.074c-.026.058-.04.102-.041.133l-.009.132-.008.14.001.024c0 .072-.017.1-.061.1-.015 0-.057-.018-.097-.041a.24.24 0 0 0-.12-.034c-.129 0-.211.089-.211.228 0 .165.049.323.133.433l.107.14c.03.037.084.07.087.049l.02-.173-.025-.14-.005-.063c0-.053.018-.086.049-.086.047 0 .075.051.105.19l.066.306.067.388a1.54 1.54 0 0 0 .099.33 1.71 1.71 0 0 0 .141.289c.092.118.102.134.102.16 0 .02-.017.038-.035.038s-.043-.009-.074-.025a.34.34 0 0 0-.099-.033l-.065-.009c-.133 0-.16.114-.16.665a3.35 3.35 0 0 0 .159 1.012l.173.438a.54.54 0 0 1 .041.205c0 .602-.799 1.547-1.677 1.983-.327.161-.431.317-.454.676l-.008.108a1.15 1.15 0 0 1 .28-.116c.246-.064.294-.095.331-.215l.032-.107c.013-.04.033-.055.223-.157.065-.034.111-.072.133-.107.041-.07.076-.107.098-.107s.032.01.032.027l-.007.029-.082.236-.01.058c0 .175.096.317.274.408.029-.191.049-.256.108-.346l.148-.231c.055-.086.078-.19.078-.353a1.53 1.53 0 0 0-.02-.258l-.006-.065c0-.042.022-.066.058-.066.029 0 .052.01.055.024l.033.157c.006.034.041.058.08.058.08 0 .183-.103.291-.289a.44.44 0 0 0 .061-.219l-.012-.112-.025-.123-.002-.024c0-.054.03-.092.073-.092.019 0 .034.007.037.016l.049.191c.017.063.061.107.107.107.056 0 .151-.096.207-.207a.73.73 0 0 0 .075-.338c0-.176.018-.227.083-.227.021 0 .037.007.041.02l.033.107c.013.039.036.065.059.065.034 0 .127-.1.189-.206.017-.027.025-.055.025-.077 0-.035-.024-.071-.075-.113-.086-.071-.091-.082-.091-.19s.017-.158.091-.289l.107-.198c.104-.204.142-.257.18-.257.032 0 .06.034.06.073 0 .022-.006.045-.017.068a.28.28 0 0 0-.033.098c0 .032.027.059.061.059s.088-.017.146-.05c.022-.013.099-.042.231-.091l.273-.099a.49.49 0 0 1 .165-.025.66.66 0 0 1 .148.017l.191.034c.075 0 .141-.064.141-.138 0-.055-.057-.163-.133-.251-.028-.033-.042-.058-.042-.075l.01-.033c.011-.02.028-.033.044-.033.056 0 .186.139.303.323.711 1.119.966 1.39 1.446 1.535.486.148.613.261.613.55 0 .158-.081.341-.258.589-.36.503-.447.706-.447 1.038v.061l.091-.042c.067-.034.112-.054.132-.058l.206-.041c.062-.013.117-.092.117-.169l-.001-.021-.025-.182-.002-.024c0-.064.032-.138.076-.174.014-.01.028-.018.043-.018.023 0 .051.022.065.051l.132.28c.054.115.117.169.288.248zm-6.66-5.985c-.06 0-.091.052-.097.165l-.016.156-.02.2c0 .118.035.205.083.205s.135-.101.177-.216c.025-.07.037-.13.037-.193 0-.055-.013-.121-.037-.187-.03-.084-.076-.132-.126-.132zm-.685-1.205l.116.115c.189.188.282.501.282.945 0 .098-.005.163-.026.425l-.017.34c0 1.024.333 1.798.774 1.798.139 0 .229-.066.359-.264.021-.032.054-.06.075-.06s.039.021.041.068l.017.182.017.156.016.174.025.157.002.02c0 .046-.02.072-.059.079l-.149.025c-.074.012-.152.043-.231.091-.125.075-.199.132-.215.165l-.091.19c-.013.024-.032.041-.052.041-.048 0-.125-.084-.213-.231-.075-.126-.121-.228-.121-.27 0-.026.02-.036.073-.036h.016l.107.008.066-.008.075-.008c.028-.004.05-.028.05-.058 0-.022-.014-.041-.033-.049l-.371-.158a.58.58 0 0 1-.281-.272c-.102-.196-.15-.313-.15-.371 0-.051.027-.085.067-.085.014 0 .034.006.058.018a.33.33 0 0 0 .105.033c.032 0 .061-.025.061-.052s-.03-.062-.066-.089c-.31-.225-.488-.484-.488-.707 0-.062.015-.092.048-.092l.06.007.107.016h.005c.04 0 .071-.026.071-.064 0-.023-.028-.054-.068-.076l-.132-.074c-.046-.029-.085-.068-.115-.116a7.22 7.22 0 0 1-.14-.264l-.116-.223-.075-.14a.75.75 0 0 0-.05-.066.52.52 0 0 1 .257-.067c.113 0 .184.074.264.273.05.126.105.211.136.211.016 0 .021-.027.021-.097a.94.94 0 0 0-.034-.246c-.02-.075-.029-.137-.025-.182l-.016-.116-.099-.05c-.022-.01-.048-.04-.075-.082-.046-.072-.066-.133-.066-.188 0-.035.009-.092.025-.15.084-.315.108-.438.108-.54l-.001-.071.075.082z" data-v-7c4b1471></path><path d="M2.666 7.846c-.115-.017-.169-.03-.24-.058l-.157-.065c-.133-.057-.233-.084-.316-.084-.125 0-.227.042-.344.141l.074.057.165.116.157.124a.22.22 0 0 0 .136.05c.162 0 .303-.076.525-.281zm3.179 1.503c.045-.103.067-.131.165-.215.231-.198.338-.345.338-.462v-.083-.099c0-.106.018-.141.073-.141.025 0 .044.01.051.025l.041.098c.01.023.037.038.07.038s.079-.038.121-.096l.083-.115c.041-.058.06-.107.06-.161a.27.27 0 0 0-.018-.095l-.058-.132a.39.39 0 0 1-.034-.129c0-.054.027-.086.074-.086.024 0 .046.01.059.026l.066.082c.014.018.038.029.063.029.03 0 .065-.029.086-.07l.066-.132c.017-.033.026-.059.026-.074 0-.026-.027-.052-.075-.075l-.107-.05c-.142-.065-.249-.292-.249-.529a.24.24 0 0 1 .017-.09l.058-.141a.33.33 0 0 0 .025-.132c0-.086-.028-.172-.083-.256l-.108-.173c-.049-.13-.074-.167-.114-.167l-.042.01-.058.033-.091.05-.107.133-.115.057c-.069.035-.135.182-.135.303 0 .215.024.274.307.762.11.188.168.352.168.472 0 .338-.303.579-.911.725l-.38.091c-.28.067-.445.259-.504.587.116-.06.161-.068.366-.068l.122.002h.019c.11 0 .125-.008.195-.107.082-.114.162-.182.273-.23l.132-.058.107-.058.033-.009c.03 0 .046.012.046.034 0 .032-.03.086-.078.14-.095.106-.132.194-.132.32 0 .08.019.126.091.217z" data-v-7c4b1471></path><path d="M4.805 8.068a.95.95 0 0 1 .248.223c.079.108.09.116.168.116.033 0 .074-.006.121-.017l.074-.016c.136-.026.183-.046.183-.08 0-.02-.015-.045-.042-.069l-.091-.082-.091-.083a.45.45 0 0 0-.273-.093c-.099 0-.157.02-.298.101zm2.679.447l.049-.009.075-.008.074.008.036.003c.183 0 .36-.155.36-.319 0-.057-.052-.088-.146-.088-.223 0-.362.128-.449.414z" data-v-7c4b1471></path></g><g class="B" data-v-7c4b1471><path d="M4.402 2.81c.009.076.049.14.089.14.035 0 .075-.091.161-.237.117-.198.229-.392.229-.497 0-.035-.017-.062-.041-.062l-.008.003-.091.083c-.066.06-.118.088-.281.148-.093.036-.127.073-.127.141l.012.066.041.116.017.099z" data-v-7c4b1471></path><path d="M3.896 2.379l.14.075c.039.02.06.047.06.08l-.01.052c-.02.07-.004.147-.005.176-.007.148-.119.146-.165.146-.027 0-.013-.017-.078-.091l-.182-.206c-.056-.063-.105-.208-.124-.371l-.001-.021c0-.045.014-.062.05-.062.022 0 .063.018.091.042l.223.181zm.323.867h-.045l-.095-.009a3.81 3.81 0 0 1-.099-.059c-.037-.022-.078-.033-.118-.033-.075 0-.123.041-.123.104s.033.181.109.367l.108.264c.094.232.186.331.307.331.108 0 .123-.106.196-.289.165-.415.257-.476.257-.623 0-.1-.022-.127-.113-.127l-.077-.018-.132.084-.174.008z" data-v-7c4b1471></path></g><path d="M4.212 3.477h-.107c-.016 0-.032.009-.041.025l-.016.041.041.198.033.173c.018.095.053.133.124.133.081 0 .131-.055.14-.157l.016-.182.016-.188c0-.018-.009-.036-.025-.051s-.027-.018-.041-.018l-.008.001-.132.025z" class="C" data-v-7c4b1471></path><path d="M14.987 10.884c-.072-.176-.245-.3-.447-.3s-.375.124-.447.3h-.705c-.072-.176-.245-.3-.447-.3s-.375.124-.447.3h-.705c-.072-.176-.245-.3-.447-.3s-.375.124-.447.3H9.98v4.28h.81v1.641h.95v-1.64h2.399v1.64h.949v-1.64h.809v-4.28h-.911z" class="B" data-v-7c4b1471></path><g class="C" data-v-7c4b1471><path d="M10.965 15.539h.492v.632h-.492v-.632zm0 .774h.492v.2h-.492v-.2zm3.351-.774h.492v.632h-.492v-.632zm0 .774h.492v.2h-.492v-.2z" data-v-7c4b1471></path></g><g fill="#e73337" data-v-7c4b1471><path d="M10.309 11.234h5.256v.195h-5.256v-.195zm.002 3.599h5.254v-3.22h-5.256l.002 3.22z" data-v-7c4b1471></path></g><g class="C" data-v-7c4b1471><use xlink:href="#B" data-v-7c4b1471></use><path d="M12.715 11.1c0-.124.101-.225.225-.225s.225.101.225.225v.591c0 .124-.101.225-.225.225s-.225-.101-.225-.225V11.1zm1.598 0c0-.124.101-.225.225-.225s.225.101.225.225v.591c0 .124-.101.225-.225.225s-.225-.101-.225-.225V11.1zm-2.633 2.158c.339.424.766.633 1.294.633.489 0 .826-.175 1.222-.633-.395-.405-.763-.575-1.246-.575-.508 0-.966.207-1.27.575z" data-v-7c4b1471></path></g><g class="B" data-v-7c4b1471><path d="M12.938 12.873c-.364 0-.659.113-1.008.383.289.286.629.433 1.002.433.42 0 .694-.116 1.006-.425-.358-.284-.633-.391-1-.391zm-.014.483c-.195 0-.36-.052-.569-.183.174-.094.37-.142.578-.142a1.38 1.38 0 0 1 .597.142 1.03 1.03 0 0 1-.605.183zm2.079 1.191c-.157 0-.284-.127-.284-.283s.127-.284.284-.284.284.127.284.284-.127.283-.284.283z" data-v-7c4b1471></path></g><path d="M15.002 14.049c-.119 0-.216.097-.216.216s.097.215.216.215.216-.097.216-.215-.097-.216-.216-.216z" class="C" data-v-7c4b1471></path><path d="M10.887 14.547c-.161 0-.293-.127-.293-.283s.127-.284.284-.284.284.127.284.284a.28.28 0 0 1-.275.283z" class="B" data-v-7c4b1471></path><path d="M10.876 14.049c-.119 0-.216.097-.216.216s.101.215.225.215c.114 0 .208-.097.208-.215s-.097-.216-.216-.216z" class="C" data-v-7c4b1471></path><path d="M10.877 12.593c-.156 0-.284-.127-.284-.284s.127-.283.284-.283.284.127.284.283-.128.284-.284.284z" class="B" data-v-7c4b1471></path><use xlink:href="#C" class="C" data-v-7c4b1471></use><path d="M15.003 12.593c-.157 0-.284-.127-.284-.284s.127-.283.284-.283.284.127.284.283-.127.284-.284.284z" class="B" data-v-7c4b1471></path><path d="M15.002 12.092c-.119 0-.216.097-.216.216s.097.216.216.216.216-.097.216-.216-.097-.216-.216-.216z" class="C" data-v-7c4b1471></path></g><defs data-v-7c4b1471><clipPath id="A" data-v-7c4b1471><path fill="#fff" d="M0 0h148.235v30H0z" data-v-7c4b1471></path></clipPath><path id="B" d="M11.113 11.1c0-.124.101-.225.225-.225s.225.101.225.225v.591c0 .124-.101.225-.225.225s-.225-.101-.225-.225V11.1z" data-v-7c4b1471></path><path id="C" d="M10.876 12.092c-.119 0-.216.097-.216.216s.097.216.216.216.216-.097.216-.216-.097-.216-.216-.216z" data-v-7c4b1471></path></defs></svg></a></div><div class="gh-mobile-menu-options"><div class="gh-menu-option"><button aria-expanded="false"><div class="apl-icon apl-icon--profile" style="color:;" title="Login and registration" data-v-27c0a44c></div></button></div><div class="gh-menu-option"><a href="/core/shopping-cart" rel="nofollow"><div class="apl-icon apl-icon--shopping-cart" style="color:;" title="Shopping cart" data-v-27c0a44c></div></a></div><div class="gh-menu-option"><button aria-expanded="false" aria-controls="AdditionalMenuOptions"><div class="apl-icon apl-icon--chevron-down" style="color:;" title="Additional menu options" data-v-27c0a44c></div></button></div></div></div></div><div class="gh-popovers gh-desktop-nav"><div class="gh-popoverContainer gh-popoverContainer-productsAndServicesPopover" id="gh-productsAndServicesPopover"><button class="gh-popoverTrigger gh-popoverHeader" aria-expanded="false"><div class="gh-menu-option"><div class="apl-icon apl-icon--grid" style="color:;" data-v-27c0a44c></div> Products and Services </div><svg width="12" height="7" viewbox="0 0 12 7" fill="none" xmlns="http://www.w3.org/2000/svg" class="gh-icon gh-chevron"><path d="M1.28033 0.21967C0.987436 -0.0732233 0.512564 -0.0732233 0.21967 0.21967C-0.0732231 0.512563 -0.0732231 0.987437 0.21967 1.28033L5.21967 6.28033C5.51256 6.57322 5.98744 6.57322 6.28033 6.28033L11.2803 1.28033C11.5732 0.987437 11.5732 0.512563 11.2803 0.21967C10.9874 -0.0732233 10.5126 -0.0732233 10.2197 0.21967L5.75 4.68934L1.28033 0.21967Z" class="fill-current" stroke="none"></path></svg></button></div><div class="gh-profile"><div class="gh-menu-option"><a href="/core/register"><div class="apl-icon apl-icon--register" style="color:;" data-v-27c0a44c></div>Register</a></div><div class="gh-menu-option"><a href="/core/login"><div class="apl-icon apl-icon--sign-in" style="color:;" data-v-27c0a44c></div>Log In</a></div></div><div class="gh-menu-option"><a href="/core/shopping-cart" rel="nofollow"><div class="apl-icon apl-icon--shopping-cart" style="color:;" data-v-27c0a44c></div> (0) Cart</a></div></div></nav></div></div></div></div></div> </div></div><script></script> </div> <global-header id="global-header-wc" class="global-header" environment="prod" show-discovery-tool="false" register-url="/core/register?ref=/core/elements/heritage-and-transformation-of-an-african-popular-music/E8A1EAEE4FB07A976F3F5BA276E6339C" login-url="/core/login?ref=/core/elements/heritage-and-transformation-of-an-african-popular-music/E8A1EAEE4FB07A976F3F5BA276E6339C" logout-url="/core/logout?ref=/core/elements/heritage-and-transformation-of-an-african-popular-music/E8A1EAEE4FB07A976F3F5BA276E6339C" my-account-url="/core/my-core" basket-url="/core/shopping-cart" basket-items-count="0" style="display:none" ></global-header> </div> <script> const globalHeader = $('#global-header'); const globalHeaderWc = $('#global-header-wc'); const maintenanceMessage = $('#maintenance-message'); const maintenanceMessageWc = $('#maintenance-message-wc'); globalHeaderWc.on('initialized', function () { globalHeader.hide(); globalHeaderWc.show(); }); maintenanceMessageWc.on('initialized', function () { maintenanceMessage.hide(); maintenanceMessageWc.show(); }); </script> </header> <div class="off-canvas-wrap desktop overflow-visible"> <div class="inner-wrap"> </div> </div> <div id='platform-header'> <div class="__shared-elements-html ShEl"><div class="__shared-elements-head"> <link rel="stylesheet" href="/aca/shared-elements/_nuxt/entry.BhGMTrWu.css"> <link rel="prefetch" as="style" href="/aca/shared-elements/_nuxt/error-404.B06nACMW.css"> <link rel="prefetch" as="style" href="/aca/shared-elements/_nuxt/error-500.WGRfNq7F.css"> </div><div class="__shared-elements-body"><div id="__sharedElements-n617hv"><div class="apl"><section class="apl-platform-header apl-theme--core" data-v-cabeb8f7><div tabindex="0" data-v-cabeb8f7><div class="apl-container apl-container--no-padding apl-container--full-width apl-platform-header__container--full-width" data-v-cabeb8f7><div class="apl-container apl-platform-header__container apl-platform-header__container--mobile" data-v-5f67d08b data-v-cabeb8f7><div class="apl-platform-header__branding" data-v-5f67d08b><a href="/core/" class="platform-logo" title="Cambridge Core homepage"><div><svg xmlns="http://www.w3.org/2000/svg" viewbox="0 0 209 20" fill="none" role="img" width="140" height="30"><title> Logo for Cambridge Core from Cambridge University Press. Click to return to homepage. </title><path d="M173.541 7.465c-4.172 0-7.648 3.521-7.648 7.747s3.476 7.746 7.648 7.746 7.648-3.521 7.648-7.746-3.337-7.747-7.648-7.747zm0 11.408c-2.086 0-3.616-1.69-3.616-3.662s1.669-3.662 3.616-3.662c2.086 0 3.615 1.69 3.615 3.662.139 2.113-1.529 3.662-3.615 3.662zm-159.357.704c-.973.563-1.947.704-3.198.704a8.31 8.31 0 0 1-3.337-.704c-.973-.423-1.808-.986-2.503-1.831-.695-.704-1.112-1.69-1.53-2.676s-.556-1.972-.556-3.099.139-2.253.556-3.38.834-1.972 1.53-2.676 1.53-1.408 2.503-1.831 2.086-.704 3.198-.704c.973 0 1.947.141 2.781.563.973.423 1.669.986 2.225 1.831l2.364-1.831c-.834-1.127-1.947-1.972-3.198-2.394-1.391-.563-2.642-.845-4.033-.845-1.669 0-3.059.282-4.45.845S4.033 2.817 3.059 3.944C2.086 4.93 1.391 6.197.834 7.465.278 8.873 0 10.282 0 11.972c0 1.268.278 2.676.695 3.944.556 1.268 1.251 2.394 2.086 3.521.973.986 2.086 1.831 3.337 2.535 1.391.563 2.781.986 4.45.986 1.252 0 2.225-.141 3.198-.422s1.669-.704 2.364-1.127 1.112-.845 1.53-1.268.695-.704.834-.986l-2.364-1.831c-.278.986-.973 1.69-1.947 2.254zm18.773.282v-7.183c0-.563-.139-1.268-.278-1.831-.278-.563-.556-1.127-1.112-1.549-.417-.423-1.112-.845-1.808-.986-.695-.282-1.669-.423-2.642-.423s-1.947.141-2.92.563c-.973.282-1.808.845-2.642 1.549l1.53 1.69c.278-.141.417-.422.695-.563s.556-.423.834-.563.695-.282 1.112-.423S26.56 10 27.116 10s1.112.141 1.53.282.695.422.973.704.417.563.556.986.139.704.139 1.127v.563h-1.947c-1.113 0-2.086.141-3.059.282s-1.808.422-2.503.845-1.251.845-1.669 1.549c-.417.563-.556 1.409-.556 2.254 0 .704.139 1.268.417 1.831s.556.986 1.113 1.268c.417.423.973.563 1.53.845.556.141 1.252.282 1.808.282 1.112 0 1.947-.141 2.781-.563s1.53-.986 2.086-1.972c0 .704 0 1.408.139 2.113h2.364c0-.423 0-.704-.139-1.127.417-.423.278-.845.278-1.408zm-2.364-3.239c0 .423 0 .986-.139 1.408s-.417.986-.695 1.268c-.278.422-.695.704-1.251.986s-1.112.422-1.808.422c-.973 0-1.669-.141-2.225-.563s-.834-.986-.834-1.69c0-.563.139-.986.556-1.408.278-.423.834-.563 1.391-.845.556-.141 1.112-.282 1.808-.423.695 0 1.252-.141 1.947-.141h1.391v.986h-.139zM56.039 10c-.417-.563-.973-.986-1.669-1.408s-1.53-.563-2.642-.563c-.834 0-1.669.282-2.503.704s-1.53 1.127-1.947 1.972c-.417-.845-.973-1.549-1.808-1.972-.695-.423-1.53-.704-2.642-.704-.695 0-1.251.141-1.669.282-.556.141-.973.423-1.391.704s-.695.563-.973.845-.417.563-.417.704V8.31h-2.503v14.085h2.642V15.07c0-.845.139-1.549.278-2.113s.417-1.127.834-1.408c.278-.423.695-.704 1.113-.845s.834-.282 1.39-.282c.695 0 1.113.141 1.53.282.417.282.695.563.834.986s.278.845.417 1.409c0 .563.139 1.127.139 1.831v7.324h2.642v-7.746c0-1.268.278-2.253.834-3.098s1.53-1.127 2.781-1.127c.695 0 1.112.141 1.53.282.417.282.695.563.973.845.278.422.417.845.417 1.268 0 .563.139.986.139 1.549v7.887h2.642v-8.169c0-.845-.139-1.549-.278-2.254 0-.422-.278-1.127-.695-1.69zm16.826.141c-.556-.704-1.391-1.127-2.225-1.549s-1.808-.563-2.92-.563c-.973 0-1.947.282-2.781.704s-1.53.986-2.086 1.69V0h-2.642v22.394h2.642v-1.972a6.17 6.17 0 0 0 2.086 1.69c.834.422 1.808.563 2.781.563 1.112 0 2.086-.141 2.92-.563s1.669-.845 2.225-1.549 1.112-1.408 1.391-2.394c.278-.845.556-1.831.556-2.958 0-.986-.139-1.972-.556-2.958-.278-.704-.695-1.408-1.391-2.113zm-1.252 7.183c-.278.563-.556 1.127-.973 1.549s-.834.704-1.391.986-1.251.422-1.947.422-1.391-.141-1.947-.422-1.112-.563-1.391-.986c-.417-.422-.695-.986-.973-1.549s-.278-1.268-.278-1.972.139-1.408.278-1.972c.278-.563.556-1.127.973-1.549s.834-.704 1.391-.986 1.252-.423 1.947-.423 1.391.141 1.947.423 1.112.563 1.391.986c.417.423.695.986.973 1.549s.278 1.268.278 1.972c.139.704 0 1.409-.278 1.972zM82.46 8.169c-.417.141-.834.282-1.112.563-.417.282-.695.423-.973.845-.278.282-.556.704-.695.986V8.451h-2.642v14.085h2.642v-7.042c0-1.549.278-2.676.973-3.38s1.669-1.127 2.92-1.127h.695c.278 0 .417.141.695.141l.139-2.817c-.417-.141-.695-.141-1.112-.141a2.82 2.82 0 0 0-1.53 0zm5.145 14.225h2.642V8.31h-2.642v14.085zm1.252-20.986a1.77 1.77 0 0 0-1.391.563c-.278.423-.556.845-.556 1.408s.139.986.556 1.408a1.77 1.77 0 0 0 1.391.563 1.77 1.77 0 0 0 1.39-.563c.417-.423.556-.845.556-1.408s-.139-.986-.556-1.408a1.77 1.77 0 0 0-1.39-.563zm15.574 9.014a6.17 6.17 0 0 0-2.085-1.69c-.835-.423-1.808-.704-2.781-.704-1.112 0-2.086.141-2.92.563s-1.669.845-2.225 1.549-1.112 1.409-1.391 2.394c-.278.845-.556 1.831-.556 2.958 0 .986.139 1.972.556 2.958.278.845.834 1.69 1.391 2.394s1.391 1.268 2.225 1.549c.834.422 1.808.563 2.92.563.974 0 1.807-.141 2.781-.563a6.17 6.17 0 0 0 2.085-1.69v1.972h2.643V0h-2.643v10.423zm-.417 6.901c-.278.563-.556 1.127-.973 1.549s-.834.704-1.391.986-1.251.422-1.946.422-1.391-.141-1.947-.422-1.112-.563-1.39-.986c-.417-.422-.695-.986-.973-1.549s-.278-1.268-.278-1.972.139-1.408.278-1.972c.278-.563.556-1.127.973-1.549s.834-.704 1.39-.986 1.252-.423 1.947-.423 1.39.141 1.946.423 1.113.563 1.391.986c.417.423.695.986.973 1.549s.278 1.268.278 1.972c.139.704 0 1.409-.278 1.972zm17.104-6.901c-.556-.704-1.251-1.268-2.225-1.69-.834-.423-1.808-.563-2.781-.563-1.112 0-2.086.141-2.92.563s-1.669.845-2.225 1.549-1.112 1.408-1.39 2.394c-.279.845-.557 1.831-.557 2.958 0 .986.139 1.972.557 2.817s.834 1.69 1.529 2.253c.695.704 1.391 1.127 2.225 1.549s1.808.563 2.781.563 1.947-.141 2.781-.563a5.21 5.21 0 0 0 2.086-1.831h.139v2.113c0 .563-.139 1.127-.278 1.831-.139.563-.417 1.127-.834 1.549s-.835.845-1.53 1.127-1.53.422-2.503.422-1.947-.141-2.781-.563-1.53-.986-2.225-1.69l-1.808 2.253c.974.986 2.086 1.549 3.199 1.972s2.364.563 3.615.563c1.112 0 2.225-.141 3.059-.563.974-.422 1.808-.845 2.364-1.549.695-.704 1.252-1.408 1.53-2.253.417-.845.556-1.831.556-2.958V8.732h-2.642v1.69h.278zm-1.251 8.451c-.835.845-1.947 1.268-3.338 1.268s-2.503-.422-3.337-1.268-1.252-1.972-1.252-3.38c0-.704.139-1.408.279-1.972.278-.563.556-1.127.973-1.549s.834-.704 1.39-.986 1.252-.423 1.947-.423 1.391.141 1.947.423 1.112.563 1.391.986c.417.423.695.986.973 1.549s.278 1.268.278 1.972c0 1.408-.417 2.535-1.251 3.38zm18.633-8.451c-.556-.704-1.251-1.268-2.086-1.69s-1.947-.704-3.198-.704c-1.113 0-1.947.141-2.92.563-.835.423-1.669.845-2.225 1.549-.695.704-1.113 1.409-1.53 2.394-.417.845-.556 1.831-.556 2.958 0 .986.139 1.972.556 2.958.278.845.835 1.69 1.391 2.394s1.39 1.127 2.225 1.549 1.946.563 3.059.563c2.642 0 4.728-.986 6.257-2.817l-2.085-1.831c-.557.704-1.113 1.127-1.669 1.549s-1.391.563-2.086.563c-.556 0-1.251-.141-1.808-.282s-1.112-.422-1.529-.845-.835-.845-1.113-1.268a3.79 3.79 0 0 1-.417-1.69h11.264v-.845c0-.845-.139-1.831-.418-2.676-.139-.986-.556-1.69-1.112-2.394zm-9.734 3.803c0-.423.139-.986.278-1.408s.556-.986.835-1.268c.417-.423.834-.704 1.39-.986a3.81 3.81 0 0 1 1.808-.423c.695 0 1.251.141 1.808.282s.973.563 1.251.845c.278.422.556.845.695 1.268.139.563.278.986.278 1.69h-8.343zm30.592 3.944c-.695.422-1.529.563-2.503.563-.834 0-1.529-.141-2.364-.563-.695-.282-1.39-.845-1.807-1.408-.557-.563-.974-1.268-1.252-2.113a8.3 8.3 0 0 1-.417-2.676 8.3 8.3 0 0 1 .417-2.676c.278-.845.695-1.549 1.252-2.113s1.112-1.127 1.946-1.408c.696-.282 1.53-.563 2.364-.563s1.669.141 2.225.423c.695.282 1.252.704 1.669 1.268l3.476-2.958c-.417-.563-.973-1.127-1.529-1.408-.557-.423-1.113-.704-1.808-.986-.556-.282-1.252-.423-1.947-.563s-1.251-.141-1.808-.141c-1.668 0-3.198.282-4.449.704a12.06 12.06 0 0 0-3.616 2.254c-.973.986-1.807 2.113-2.364 3.521s-.834 2.958-.834 4.507c0 1.69.278 3.239.834 4.507.557 1.409 1.391 2.535 2.364 3.521s2.225 1.69 3.616 2.253 2.92.704 4.449.704c1.391 0 2.782-.282 4.172-.845s2.503-1.549 3.337-2.817l-3.893-2.817c-.139.845-.834 1.409-1.53 1.831zm32.539-10.563c-.973 0-1.808.282-2.503.704s-1.251 1.127-1.668 1.972V8.028h-4.45v14.366h4.45v-6.056c0-.704 0-1.408.139-1.972s.278-1.127.556-1.549.695-.704 1.112-.986c.556-.282 1.113-.422 1.947-.422.278 0 .695 0 .973.141.279 0 .557.141.974.282V7.746c-.278 0-.417-.141-.695-.141h-.835zm16.965 7.606c0-1.127-.139-2.254-.417-3.099a5.18 5.18 0 0 0-1.391-2.394c-.556-.704-1.251-1.127-2.086-1.549s-1.807-.563-2.781-.563c-1.112 0-2.086.141-3.059.563s-1.808.845-2.503 1.549-1.251 1.408-1.669 2.394-.556 1.972-.556 3.099.139 2.254.556 3.099c.418.986.974 1.69 1.669 2.394s1.53 1.127 2.503 1.549 1.947.563 3.059.563 2.225-.282 3.338-.704A8.03 8.03 0 0 0 208.166 20l-3.06-2.253c-.417.563-.834.986-1.251 1.268-.556.282-1.112.422-1.808.422-.834 0-1.529-.282-2.225-.704-.556-.563-.973-1.127-1.112-1.972H209v-1.549h-.139zm-10.29-1.549c0-.423.139-.704.278-.986s.417-.563.556-.845c.278-.282.556-.422.974-.563s.834-.282 1.251-.282c.834 0 1.53.282 1.947.845.556.563.695 1.127.695 1.972h-5.701v-.141z" fill="#fff"></path></svg></div></a></div><div class="apl-container apl-container--no-padding apl-platform-header__navigation-mobile-container" data-v-5f67d08b><div data-v-5f67d08b><button tabindex="0" type="button" class="apl-button apl-button--secondary apl-button--md apl-button--icon-only apl-platform-header__button apl-platform-header__button--icon" aria-label="Log in by institution"><div class="apl-icon apl-icon--institution apl-button__icon--center" style="color:;" tabindex="-1" data-v-27c0a44c></div></button></div><div class="apl-search apl-search--collapse apl-search--md apl-platform-header__search" data-v-aec9f5e2 data-v-5f67d08b><input class="apl-search__input" type="search" placeholder="Search..." autocomplete="off" value data-v-aec9f5e2><button tabindex="0" type="button" class="apl-button apl-button--primary apl-button--md apl-button--icon-only apl-search__btn-search apl-search__btn-search--mobile" aria-label="Search" data-v-3dc43ba0 data-v-aec9f5e2><div class="apl-icon apl-icon--search apl-button__icon--center" style="color:;" tabindex="-1" data-v-27c0a44c></div></button><button tabindex="0" type="button" class="apl-button apl-button--primary apl-button--md apl-search__btn-search apl-search__btn-search--desktop" aria-label="Search" data-v-28a98aec data-v-aec9f5e2><div class="apl-icon apl-icon--search apl-button__icon--left" style="color:;" tabindex="-1" data-v-27c0a44c></div><span>Search</span></button></div><button tabindex="0" type="button" class="apl-button apl-button--secondary apl-button--md apl-button--icon-only apl-platform-header__button apl-platform-header__button--icon apl-menu__options--mobile" aria-label="Expand menu options" aria-expanded="false" id="apl-menu__mobile-menu-toggle" data-v-b4a8da84 data-v-5f67d08b><div class="apl-icon apl-icon--menu apl-button__icon--center" style="color:;" tabindex="-1" data-v-27c0a44c></div></button></div></div><div class="apl-container apl-platform-header__container apl-platform-header__container--desktop" data-v-b46fab2c data-v-cabeb8f7><div class="apl-container apl-container--no-padding apl-platform-header__logo-and-menu-container" data-v-b46fab2c><div class="apl-platform-header__branding" data-v-b46fab2c><a href="/core/" class="platform-logo" title="Cambridge Core homepage"><div><svg xmlns="http://www.w3.org/2000/svg" viewbox="0 0 209 20" fill="none" role="img" width="140" height="30"><title> Logo for Cambridge Core from Cambridge University Press. Click to return to homepage. </title><path d="M173.541 7.465c-4.172 0-7.648 3.521-7.648 7.747s3.476 7.746 7.648 7.746 7.648-3.521 7.648-7.746-3.337-7.747-7.648-7.747zm0 11.408c-2.086 0-3.616-1.69-3.616-3.662s1.669-3.662 3.616-3.662c2.086 0 3.615 1.69 3.615 3.662.139 2.113-1.529 3.662-3.615 3.662zm-159.357.704c-.973.563-1.947.704-3.198.704a8.31 8.31 0 0 1-3.337-.704c-.973-.423-1.808-.986-2.503-1.831-.695-.704-1.112-1.69-1.53-2.676s-.556-1.972-.556-3.099.139-2.253.556-3.38.834-1.972 1.53-2.676 1.53-1.408 2.503-1.831 2.086-.704 3.198-.704c.973 0 1.947.141 2.781.563.973.423 1.669.986 2.225 1.831l2.364-1.831c-.834-1.127-1.947-1.972-3.198-2.394-1.391-.563-2.642-.845-4.033-.845-1.669 0-3.059.282-4.45.845S4.033 2.817 3.059 3.944C2.086 4.93 1.391 6.197.834 7.465.278 8.873 0 10.282 0 11.972c0 1.268.278 2.676.695 3.944.556 1.268 1.251 2.394 2.086 3.521.973.986 2.086 1.831 3.337 2.535 1.391.563 2.781.986 4.45.986 1.252 0 2.225-.141 3.198-.422s1.669-.704 2.364-1.127 1.112-.845 1.53-1.268.695-.704.834-.986l-2.364-1.831c-.278.986-.973 1.69-1.947 2.254zm18.773.282v-7.183c0-.563-.139-1.268-.278-1.831-.278-.563-.556-1.127-1.112-1.549-.417-.423-1.112-.845-1.808-.986-.695-.282-1.669-.423-2.642-.423s-1.947.141-2.92.563c-.973.282-1.808.845-2.642 1.549l1.53 1.69c.278-.141.417-.422.695-.563s.556-.423.834-.563.695-.282 1.112-.423S26.56 10 27.116 10s1.112.141 1.53.282.695.422.973.704.417.563.556.986.139.704.139 1.127v.563h-1.947c-1.113 0-2.086.141-3.059.282s-1.808.422-2.503.845-1.251.845-1.669 1.549c-.417.563-.556 1.409-.556 2.254 0 .704.139 1.268.417 1.831s.556.986 1.113 1.268c.417.423.973.563 1.53.845.556.141 1.252.282 1.808.282 1.112 0 1.947-.141 2.781-.563s1.53-.986 2.086-1.972c0 .704 0 1.408.139 2.113h2.364c0-.423 0-.704-.139-1.127.417-.423.278-.845.278-1.408zm-2.364-3.239c0 .423 0 .986-.139 1.408s-.417.986-.695 1.268c-.278.422-.695.704-1.251.986s-1.112.422-1.808.422c-.973 0-1.669-.141-2.225-.563s-.834-.986-.834-1.69c0-.563.139-.986.556-1.408.278-.423.834-.563 1.391-.845.556-.141 1.112-.282 1.808-.423.695 0 1.252-.141 1.947-.141h1.391v.986h-.139zM56.039 10c-.417-.563-.973-.986-1.669-1.408s-1.53-.563-2.642-.563c-.834 0-1.669.282-2.503.704s-1.53 1.127-1.947 1.972c-.417-.845-.973-1.549-1.808-1.972-.695-.423-1.53-.704-2.642-.704-.695 0-1.251.141-1.669.282-.556.141-.973.423-1.391.704s-.695.563-.973.845-.417.563-.417.704V8.31h-2.503v14.085h2.642V15.07c0-.845.139-1.549.278-2.113s.417-1.127.834-1.408c.278-.423.695-.704 1.113-.845s.834-.282 1.39-.282c.695 0 1.113.141 1.53.282.417.282.695.563.834.986s.278.845.417 1.409c0 .563.139 1.127.139 1.831v7.324h2.642v-7.746c0-1.268.278-2.253.834-3.098s1.53-1.127 2.781-1.127c.695 0 1.112.141 1.53.282.417.282.695.563.973.845.278.422.417.845.417 1.268 0 .563.139.986.139 1.549v7.887h2.642v-8.169c0-.845-.139-1.549-.278-2.254 0-.422-.278-1.127-.695-1.69zm16.826.141c-.556-.704-1.391-1.127-2.225-1.549s-1.808-.563-2.92-.563c-.973 0-1.947.282-2.781.704s-1.53.986-2.086 1.69V0h-2.642v22.394h2.642v-1.972a6.17 6.17 0 0 0 2.086 1.69c.834.422 1.808.563 2.781.563 1.112 0 2.086-.141 2.92-.563s1.669-.845 2.225-1.549 1.112-1.408 1.391-2.394c.278-.845.556-1.831.556-2.958 0-.986-.139-1.972-.556-2.958-.278-.704-.695-1.408-1.391-2.113zm-1.252 7.183c-.278.563-.556 1.127-.973 1.549s-.834.704-1.391.986-1.251.422-1.947.422-1.391-.141-1.947-.422-1.112-.563-1.391-.986c-.417-.422-.695-.986-.973-1.549s-.278-1.268-.278-1.972.139-1.408.278-1.972c.278-.563.556-1.127.973-1.549s.834-.704 1.391-.986 1.252-.423 1.947-.423 1.391.141 1.947.423 1.112.563 1.391.986c.417.423.695.986.973 1.549s.278 1.268.278 1.972c.139.704 0 1.409-.278 1.972zM82.46 8.169c-.417.141-.834.282-1.112.563-.417.282-.695.423-.973.845-.278.282-.556.704-.695.986V8.451h-2.642v14.085h2.642v-7.042c0-1.549.278-2.676.973-3.38s1.669-1.127 2.92-1.127h.695c.278 0 .417.141.695.141l.139-2.817c-.417-.141-.695-.141-1.112-.141a2.82 2.82 0 0 0-1.53 0zm5.145 14.225h2.642V8.31h-2.642v14.085zm1.252-20.986a1.77 1.77 0 0 0-1.391.563c-.278.423-.556.845-.556 1.408s.139.986.556 1.408a1.77 1.77 0 0 0 1.391.563 1.77 1.77 0 0 0 1.39-.563c.417-.423.556-.845.556-1.408s-.139-.986-.556-1.408a1.77 1.77 0 0 0-1.39-.563zm15.574 9.014a6.17 6.17 0 0 0-2.085-1.69c-.835-.423-1.808-.704-2.781-.704-1.112 0-2.086.141-2.92.563s-1.669.845-2.225 1.549-1.112 1.409-1.391 2.394c-.278.845-.556 1.831-.556 2.958 0 .986.139 1.972.556 2.958.278.845.834 1.69 1.391 2.394s1.391 1.268 2.225 1.549c.834.422 1.808.563 2.92.563.974 0 1.807-.141 2.781-.563a6.17 6.17 0 0 0 2.085-1.69v1.972h2.643V0h-2.643v10.423zm-.417 6.901c-.278.563-.556 1.127-.973 1.549s-.834.704-1.391.986-1.251.422-1.946.422-1.391-.141-1.947-.422-1.112-.563-1.39-.986c-.417-.422-.695-.986-.973-1.549s-.278-1.268-.278-1.972.139-1.408.278-1.972c.278-.563.556-1.127.973-1.549s.834-.704 1.39-.986 1.252-.423 1.947-.423 1.39.141 1.946.423 1.113.563 1.391.986c.417.423.695.986.973 1.549s.278 1.268.278 1.972c.139.704 0 1.409-.278 1.972zm17.104-6.901c-.556-.704-1.251-1.268-2.225-1.69-.834-.423-1.808-.563-2.781-.563-1.112 0-2.086.141-2.92.563s-1.669.845-2.225 1.549-1.112 1.408-1.39 2.394c-.279.845-.557 1.831-.557 2.958 0 .986.139 1.972.557 2.817s.834 1.69 1.529 2.253c.695.704 1.391 1.127 2.225 1.549s1.808.563 2.781.563 1.947-.141 2.781-.563a5.21 5.21 0 0 0 2.086-1.831h.139v2.113c0 .563-.139 1.127-.278 1.831-.139.563-.417 1.127-.834 1.549s-.835.845-1.53 1.127-1.53.422-2.503.422-1.947-.141-2.781-.563-1.53-.986-2.225-1.69l-1.808 2.253c.974.986 2.086 1.549 3.199 1.972s2.364.563 3.615.563c1.112 0 2.225-.141 3.059-.563.974-.422 1.808-.845 2.364-1.549.695-.704 1.252-1.408 1.53-2.253.417-.845.556-1.831.556-2.958V8.732h-2.642v1.69h.278zm-1.251 8.451c-.835.845-1.947 1.268-3.338 1.268s-2.503-.422-3.337-1.268-1.252-1.972-1.252-3.38c0-.704.139-1.408.279-1.972.278-.563.556-1.127.973-1.549s.834-.704 1.39-.986 1.252-.423 1.947-.423 1.391.141 1.947.423 1.112.563 1.391.986c.417.423.695.986.973 1.549s.278 1.268.278 1.972c0 1.408-.417 2.535-1.251 3.38zm18.633-8.451c-.556-.704-1.251-1.268-2.086-1.69s-1.947-.704-3.198-.704c-1.113 0-1.947.141-2.92.563-.835.423-1.669.845-2.225 1.549-.695.704-1.113 1.409-1.53 2.394-.417.845-.556 1.831-.556 2.958 0 .986.139 1.972.556 2.958.278.845.835 1.69 1.391 2.394s1.39 1.127 2.225 1.549 1.946.563 3.059.563c2.642 0 4.728-.986 6.257-2.817l-2.085-1.831c-.557.704-1.113 1.127-1.669 1.549s-1.391.563-2.086.563c-.556 0-1.251-.141-1.808-.282s-1.112-.422-1.529-.845-.835-.845-1.113-1.268a3.79 3.79 0 0 1-.417-1.69h11.264v-.845c0-.845-.139-1.831-.418-2.676-.139-.986-.556-1.69-1.112-2.394zm-9.734 3.803c0-.423.139-.986.278-1.408s.556-.986.835-1.268c.417-.423.834-.704 1.39-.986a3.81 3.81 0 0 1 1.808-.423c.695 0 1.251.141 1.808.282s.973.563 1.251.845c.278.422.556.845.695 1.268.139.563.278.986.278 1.69h-8.343zm30.592 3.944c-.695.422-1.529.563-2.503.563-.834 0-1.529-.141-2.364-.563-.695-.282-1.39-.845-1.807-1.408-.557-.563-.974-1.268-1.252-2.113a8.3 8.3 0 0 1-.417-2.676 8.3 8.3 0 0 1 .417-2.676c.278-.845.695-1.549 1.252-2.113s1.112-1.127 1.946-1.408c.696-.282 1.53-.563 2.364-.563s1.669.141 2.225.423c.695.282 1.252.704 1.669 1.268l3.476-2.958c-.417-.563-.973-1.127-1.529-1.408-.557-.423-1.113-.704-1.808-.986-.556-.282-1.252-.423-1.947-.563s-1.251-.141-1.808-.141c-1.668 0-3.198.282-4.449.704a12.06 12.06 0 0 0-3.616 2.254c-.973.986-1.807 2.113-2.364 3.521s-.834 2.958-.834 4.507c0 1.69.278 3.239.834 4.507.557 1.409 1.391 2.535 2.364 3.521s2.225 1.69 3.616 2.253 2.92.704 4.449.704c1.391 0 2.782-.282 4.172-.845s2.503-1.549 3.337-2.817l-3.893-2.817c-.139.845-.834 1.409-1.53 1.831zm32.539-10.563c-.973 0-1.808.282-2.503.704s-1.251 1.127-1.668 1.972V8.028h-4.45v14.366h4.45v-6.056c0-.704 0-1.408.139-1.972s.278-1.127.556-1.549.695-.704 1.112-.986c.556-.282 1.113-.422 1.947-.422.278 0 .695 0 .973.141.279 0 .557.141.974.282V7.746c-.278 0-.417-.141-.695-.141h-.835zm16.965 7.606c0-1.127-.139-2.254-.417-3.099a5.18 5.18 0 0 0-1.391-2.394c-.556-.704-1.251-1.127-2.086-1.549s-1.807-.563-2.781-.563c-1.112 0-2.086.141-3.059.563s-1.808.845-2.503 1.549-1.251 1.408-1.669 2.394-.556 1.972-.556 3.099.139 2.254.556 3.099c.418.986.974 1.69 1.669 2.394s1.53 1.127 2.503 1.549 1.947.563 3.059.563 2.225-.282 3.338-.704A8.03 8.03 0 0 0 208.166 20l-3.06-2.253c-.417.563-.834.986-1.251 1.268-.556.282-1.112.422-1.808.422-.834 0-1.529-.282-2.225-.704-.556-.563-.973-1.127-1.112-1.972H209v-1.549h-.139zm-10.29-1.549c0-.423.139-.704.278-.986s.417-.563.556-.845c.278-.282.556-.422.974-.563s.834-.282 1.251-.282c.834 0 1.53.282 1.947.845.556.563.695 1.127.695 1.972h-5.701v-.141z" fill="#fff"></path></svg></div></a></div><hr class="apl-platform-header__logo-and-menu-divider" data-v-b46fab2c><nav data-v-b46fab2c><div class="apl-container apl-container--no-padding apl-menu__options--desktop" data-v-1e1e1426 data-v-b46fab2c><ul class="apl-menu__list" data-v-1e1e1426><li id="menu_item-0" class="apl-menu__list-item" data-v-1e1e1426><button tabindex="0" type="button" class="apl-button apl-button--secondary apl-button--md apl-button--text apl-platform-header__button apl-menu__item"><span>Browse</span><div class="apl-icon apl-icon--chevron-down apl-button__icon--right" style="color:;" tabindex="-1" data-v-27c0a44c></div></button></li><li id="menu_item-1" class="apl-menu__list-item" data-v-1e1e1426><button tabindex="0" type="button" class="apl-button apl-button--secondary apl-button--md apl-button--text apl-platform-header__button apl-menu__item"><span>Services</span><div class="apl-icon apl-icon--chevron-down apl-button__icon--right" style="color:;" tabindex="-1" data-v-27c0a44c></div></button></li><li id="menu_item-2" class="apl-menu__list-item" data-v-1e1e1426><button tabindex="0" type="button" class="apl-button apl-button--secondary apl-button--md apl-button--text apl-platform-header__button apl-menu__item"><span>Open research</span><div class="apl-icon apl-icon--chevron-down apl-button__icon--right" style="color:;" tabindex="-1" data-v-27c0a44c></div></button></li></ul></div></nav></div><div class="apl-container apl-container--no-padding apl-platform-header__account-and-search-container" data-v-b46fab2c><div class="apl-platform-header__authenticated-by" data-v-b46fab2c><button tabindex="0" type="button" class="apl-button apl-button--secondary apl-button--md apl-button--text apl-platform-header__button"><span>Institution Login</span></button></div><div class="apl-search apl-search--collapse apl-search--md apl-platform-header__search" data-v-aec9f5e2 data-v-b46fab2c><input class="apl-search__input" type="search" placeholder="Search..." autocomplete="off" value data-v-aec9f5e2><button tabindex="0" type="button" class="apl-button apl-button--primary apl-button--md apl-button--icon-only apl-search__btn-search apl-search__btn-search--mobile" aria-label="Search" data-v-3dc43ba0 data-v-aec9f5e2><div class="apl-icon apl-icon--search apl-button__icon--center" style="color:;" tabindex="-1" data-v-27c0a44c></div></button><button tabindex="0" type="button" class="apl-button apl-button--primary apl-button--md apl-search__btn-search apl-search__btn-search--desktop" aria-label="Search" data-v-28a98aec data-v-aec9f5e2><div class="apl-icon apl-icon--search apl-button__icon--left" style="color:;" tabindex="-1" data-v-27c0a44c></div><span>Search</span></button></div></div></div></div></div></section></div></div> </div></div><script>window.__PLATFORM_HEADER_DATA__ = {"megaMenuData":{"menuItems":[{"id":"menu_item-0","label":"Browse","openExternal":null,"url":"","isMegaMenu":true,"menuCats":[{"id":"menu_item-0_cat-0","label":"Subjects","openExternal":null,"url":"/core/browse-subjects","menuTopics":[{"id":"menu_item-0_cat-0_subCat-0","label":" Subjects (A-D)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-0_subCat-0_link-0","label":"Anthropology","openExternal":false,"url":"/core/browse-subjects/anthropology"},{"id":"menu_item-0_cat-0_subCat-0_link-1","label":"Archaeology","openExternal":false,"url":"/core/browse-subjects/archaeology"},{"id":"menu_item-0_cat-0_subCat-0_link-2","label":"Area Studies","openExternal":false,"url":"/core/browse-subjects/area-studies"},{"id":"menu_item-0_cat-0_subCat-0_link-3","label":"Art","openExternal":false,"url":"/core/browse-subjects/art"},{"id":"menu_item-0_cat-0_subCat-0_link-4","label":"Chemistry","openExternal":false,"url":"/core/browse-subjects/chemistry"},{"id":"menu_item-0_cat-0_subCat-0_link-5","label":"Classical Studies","openExternal":false,"url":"/core/browse-subjects/classical-studies"},{"id":"menu_item-0_cat-0_subCat-0_link-6","label":"Computer Science","openExternal":false,"url":"/core/browse-subjects/computer-science"},{"id":"menu_item-0_cat-0_subCat-0_link-7","label":"Drama, Theatre, Performance Studies","openExternal":false,"url":"/core/browse-subjects/drama-and-theatre"}]},{"id":"menu_item-0_cat-0_subCat-1","label":" Subjects (E-K)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-0_subCat-1_link-0","label":"Earth and Environmental Science","openExternal":false,"url":"/core/browse-subjects/earth-and-environmental-sciences"},{"id":"menu_item-0_cat-0_subCat-1_link-1","label":"Economics","openExternal":false,"url":"/core/browse-subjects/economics"},{"id":"menu_item-0_cat-0_subCat-1_link-2","label":"Education","openExternal":false,"url":"/core/browse-subjects/education"},{"id":"menu_item-0_cat-0_subCat-1_link-3","label":"Engineering","openExternal":false,"url":"/core/browse-subjects/engineering"},{"id":"menu_item-0_cat-0_subCat-1_link-4","label":"English Language Teaching – Resources for Teachers","openExternal":false,"url":"/core/browse-subjects/english-language-teaching-resources-for-teachers"},{"id":"menu_item-0_cat-0_subCat-1_link-5","label":"Film, Media, Mass Communication","openExternal":false,"url":"/core/browse-subjects/film-media-mass-ommunication"},{"id":"menu_item-0_cat-0_subCat-1_link-6","label":"General Science","openExternal":false,"url":"/core/browse-subjects/general-science"},{"id":"menu_item-0_cat-0_subCat-1_link-7","label":"Geography","openExternal":false,"url":"/core/browse-subjects/geography"},{"id":"menu_item-0_cat-0_subCat-1_link-8","label":"History","openExternal":false,"url":"/core/browse-subjects/history"}]},{"id":"menu_item-0_cat-0_subCat-2","label":" Subjects (L-O)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-0_subCat-2_link-0","label":"Language and Linguistics","openExternal":false,"url":"/core/browse-subjects/language-and-linguistics"},{"id":"menu_item-0_cat-0_subCat-2_link-1","label":"Law","openExternal":false,"url":"/core/browse-subjects/law"},{"id":"menu_item-0_cat-0_subCat-2_link-2","label":"Life Sciences","openExternal":false,"url":"/core/browse-subjects/life-sciences"},{"id":"menu_item-0_cat-0_subCat-2_link-3","label":"Literature","openExternal":false,"url":"/core/browse-subjects/literature"},{"id":"menu_item-0_cat-0_subCat-2_link-4","label":"Management","openExternal":false,"url":"/core/browse-subjects/management"},{"id":"menu_item-0_cat-0_subCat-2_link-5","label":"Materials Science","openExternal":false,"url":"/core/browse-subjects/materials-science"},{"id":"menu_item-0_cat-0_subCat-2_link-6","label":"Mathematics","openExternal":false,"url":"/core/browse-subjects/mathematics"},{"id":"menu_item-0_cat-0_subCat-2_link-7","label":"Medicine","openExternal":false,"url":"/core/browse-subjects/medicine"},{"id":"menu_item-0_cat-0_subCat-2_link-8","label":"Music","openExternal":false,"url":"/core/browse-subjects/music"},{"id":"menu_item-0_cat-0_subCat-2_link-9","label":"Nutrition","openExternal":false,"url":"/core/browse-subjects/nutrition"}]},{"id":"menu_item-0_cat-0_subCat-3","label":" Subjects (P-Z)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-0_subCat-3_link-0","label":"Philosophy","openExternal":false,"url":"/core/browse-subjects/philosophy"},{"id":"menu_item-0_cat-0_subCat-3_link-1","label":"Physics and Astronomy","openExternal":false,"url":"/core/browse-subjects/physics"},{"id":"menu_item-0_cat-0_subCat-3_link-2","label":"Politics and International Relations","openExternal":false,"url":"/core/browse-subjects/politics-and-international-relations"},{"id":"menu_item-0_cat-0_subCat-3_link-3","label":"Psychiatry","openExternal":false,"url":"/core/browse-subjects/psychiatry"},{"id":"menu_item-0_cat-0_subCat-3_link-4","label":"Psychology","openExternal":false,"url":"/core/browse-subjects/psychology"},{"id":"menu_item-0_cat-0_subCat-3_link-5","label":"Religion","openExternal":false,"url":"/core/browse-subjects/religion"},{"id":"menu_item-0_cat-0_subCat-3_link-6","label":"Social Science Research Methods","openExternal":false,"url":"/core/browse-subjects/social-science-research-methods"},{"id":"menu_item-0_cat-0_subCat-3_link-7","label":"Sociology","openExternal":false,"url":"/core/browse-subjects/sociology"},{"id":"menu_item-0_cat-0_subCat-3_link-8","label":"Statistics and Probability","openExternal":false,"url":"/core/browse-subjects/statistics-and-probability"}]}]},{"id":"menu_item-0_cat-1","label":"Open access","openExternal":null,"url":"/core/publications/open-access","menuTopics":[{"id":"menu_item-0_cat-1_subCat-0","label":"All open access publishing","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-1_subCat-0_link-0","label":"Open access","openExternal":false,"url":"/core/publications/open-access"},{"id":"menu_item-0_cat-1_subCat-0_link-1","label":"Open access journals","openExternal":false,"url":"/core/publications/open-access/listing?aggs[productTypes][filters]=JOURNAL&statuses=PUBLISHED&sort=titleSort:asc"},{"id":"menu_item-0_cat-1_subCat-0_link-2","label":"Research open journals","openExternal":false,"url":"/core/publications/open-access/research-open?aggs[productTypes][filters]=JOURNAL&statuses=PUBLISHED&sort=titleSort:asc"},{"id":"menu_item-0_cat-1_subCat-0_link-3","label":"Journals containing open access","openExternal":false,"url":"/core/publications/open-access/hybrid-open-access-journals?aggs[productTypes][filters]=JOURNAL&statuses=PUBLISHED&sort=titleSort:asc"},{"id":"menu_item-0_cat-1_subCat-0_link-4","label":"Open access articles","openExternal":false,"url":"/core/publications/open-access/listing?aggs[productTypes][filters]=JOURNAL_ARTICLE"},{"id":"menu_item-0_cat-1_subCat-0_link-5","label":"Open access books","openExternal":false,"url":"/core/publications/open-access/listing?aggs[productTypes][filters]=BOOK&sort=canonical.date:desc"},{"id":"menu_item-0_cat-1_subCat-0_link-6","label":"Open access Elements","openExternal":false,"url":"/core/publications/elements/published-elements?aggs%5BopenAccess%5D%5Bfilters%5D=7275BA1E84CA769210167A6A66523B47&aggs%5BproductTypes%5D%5Bfilters%5D=ELEMENT&searchWithinIds=ECFD8F5C64F47F3F5A3D395C15B7C493"}]}]},{"id":"menu_item-0_cat-2","label":"Journals","openExternal":null,"url":"/core/publications/journals","menuTopics":[{"id":"menu_item-0_cat-2_subCat-0","label":"Explore","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-2_subCat-0_link-0","label":"All journal subjects","openExternal":false,"url":"/core/publications/journals"},{"id":"menu_item-0_cat-2_subCat-0_link-1","label":"Search journals","openExternal":false,"url":"/core/publications/journals"}]},{"id":"menu_item-0_cat-2_subCat-1","label":"Open access","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-2_subCat-1_link-0","label":"Open access journals","openExternal":false,"url":"/core/publications/open-access/listing?aggs[productTypes][filters]=JOURNAL&statuses=PUBLISHED&sort=titleSort:asc"},{"id":"menu_item-0_cat-2_subCat-1_link-1","label":"Research open journals","openExternal":false,"url":"/core/publications/open-access/research-open?aggs[productTypes][filters]=JOURNAL&statuses=PUBLISHED&sort=titleSort:asc"},{"id":"menu_item-0_cat-2_subCat-1_link-2","label":"Journals containing open access","openExternal":false,"url":"/core/publications/open-access/hybrid-open-access-journals?aggs[productTypes][filters]=JOURNAL&statuses=PUBLISHED&sort=titleSort:asc"},{"id":"menu_item-0_cat-2_subCat-1_link-3","label":"Open access articles","openExternal":false,"url":"/core/publications/open-access/listing?aggs[productTypes][filters]=JOURNAL_ARTICLE"}]},{"id":"menu_item-0_cat-2_subCat-2","label":"Collections","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-2_subCat-2_link-0","label":"Cambridge Forum","openExternal":false,"url":"/core/publications/collections/cambridge-forum"},{"id":"menu_item-0_cat-2_subCat-2_link-1","label":"Cambridge Law Reports Collection","openExternal":false,"url":"/core/publications/collections/cambridge-law-reports-collection"},{"id":"menu_item-0_cat-2_subCat-2_link-2","label":"Cambridge Prisms","openExternal":false,"url":"/core/publications/collections/cambridge-prisms"},{"id":"menu_item-0_cat-2_subCat-2_link-3","label":"Research Directions","openExternal":false,"url":"/core/publications/collections/research-directions"}]}]},{"id":"menu_item-0_cat-3","label":"Books","openExternal":null,"url":"/core/publications/books","menuTopics":[{"id":"menu_item-0_cat-3_subCat-0","label":"Explore","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-3_subCat-0_link-0","label":"Books","openExternal":false,"url":"/core/publications/books"},{"id":"menu_item-0_cat-3_subCat-0_link-1","label":"Open access books","openExternal":false,"url":"/core/publications/open-access/listing?aggs[productTypes][filters]=BOOK&sort=canonical.date:desc"},{"id":"menu_item-0_cat-3_subCat-0_link-2","label":"New books","openExternal":false,"url":"/core/publications/books/listing?aggs[productDate][filters]=Last+3+months&aggs[productTypes][filters]=BOOK&sort=canonical.date:desc"},{"id":"menu_item-0_cat-3_subCat-0_link-3","label":"Flip it Open","openExternal":false,"url":"/core/publications/collections/flip-it-open"}]},{"id":"menu_item-0_cat-3_subCat-1","label":"Collections","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-3_subCat-1_link-0","label":"Cambridge Companions","openExternal":false,"url":"/core/publications/collections/cambridge-companions"},{"id":"menu_item-0_cat-3_subCat-1_link-1","label":"Cambridge Editions","openExternal":false,"url":"/core/publications/collections/cambridge-editions"},{"id":"menu_item-0_cat-3_subCat-1_link-2","label":"Cambridge Histories","openExternal":false,"url":"/core/publications/collections/cambridge-histories"},{"id":"menu_item-0_cat-3_subCat-1_link-3","label":"Cambridge Library Collection","openExternal":false,"url":"/core/publications/collections/cambridge-library-collection"},{"id":"menu_item-0_cat-3_subCat-1_link-4","label":"Cambridge Shakespeare","openExternal":false,"url":"/core/publications/collections/cambridge-shakespeare"},{"id":"menu_item-0_cat-3_subCat-1_link-5","label":"Cambridge Handbooks","openExternal":false,"url":"/core/publications/collections/cambridgehandbooks"}]},{"id":"menu_item-0_cat-3_subCat-2","label":" Collections (cont.)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-3_subCat-2_link-0","label":"Dispute Settlement Reports Online","openExternal":false,"url":"/core/publications/collections/dispute-settlement-reports-online"},{"id":"menu_item-0_cat-3_subCat-2_link-1","label":"Flip it Open","openExternal":false,"url":"/core/publications/collections/flip-it-open"},{"id":"menu_item-0_cat-3_subCat-2_link-2","label":"Hemingway Letters","openExternal":false,"url":"/core/publications/collections/hemingway-letters"},{"id":"menu_item-0_cat-3_subCat-2_link-3","label":"Shakespeare Survey","openExternal":false,"url":"/core/publications/collections/shakespeare-survey"},{"id":"menu_item-0_cat-3_subCat-2_link-4","label":"Stahl Online","openExternal":false,"url":"/core/publications/collections/stahl-online"},{"id":"menu_item-0_cat-3_subCat-2_link-5","label":"The Correspondence of Isaac Newton","openExternal":false,"url":"/core/publications/collections/the-correspondence-of-isaac-newton"}]}]},{"id":"menu_item-0_cat-4","label":"Elements","openExternal":null,"url":"/core/publications/elements","menuTopics":[{"id":"menu_item-0_cat-4_subCat-0","label":"Explore","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-4_subCat-0_link-0","label":"About Elements","openExternal":false,"url":"/core/publications/elements"},{"id":"menu_item-0_cat-4_subCat-0_link-1","label":"Elements series","openExternal":false,"url":"/core/publications/elements/cambridge-elements-series"},{"id":"menu_item-0_cat-4_subCat-0_link-2","label":"Open access Elements","openExternal":false,"url":"/core/publications/elements/published-elements?aggs%5BopenAccess%5D%5Bfilters%5D=7275BA1E84CA769210167A6A66523B47&aggs%5BproductTypes%5D%5Bfilters%5D=ELEMENT&searchWithinIds=ECFD8F5C64F47F3F5A3D395C15B7C493"},{"id":"menu_item-0_cat-4_subCat-0_link-3","label":"New Elements","openExternal":false,"url":"/core/publications/elements/published-elements?aggs%5BproductTypes%5D%5Bfilters%5D=ELEMENT&aggs%5BproductDate%5D%5Bfilters%5D=Last%203%20months&searchWithinIds=ECFD8F5C64F47F3F5A3D395C15B7C493"}]},{"id":"menu_item-0_cat-4_subCat-1","label":"Subjects (A-E)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-4_subCat-1_link-0","label":"Anthropology","openExternal":false,"url":"/core/elements/subject/Anthropology/2E44A5AF2838E017617A26DD79FAEAEE"},{"id":"menu_item-0_cat-4_subCat-1_link-1","label":"Archaeology","openExternal":false,"url":"/core/elements/subject/Archaeology/63A50B5368A9F97F8AA2D6AB965B5F4C"},{"id":"menu_item-0_cat-4_subCat-1_link-2","label":"Classical Studies","openExternal":false,"url":"/core/elements/subject/Classical%20Studies/DDC63B7F5792FE2A95D1FB15F76E3F42"},{"id":"menu_item-0_cat-4_subCat-1_link-3","label":"Computer Science","openExternal":false,"url":"/core/elements/subject/Computer%20Science/A57E10708F64FB69CE78C81A5C2A6555"},{"id":"menu_item-0_cat-4_subCat-1_link-4","label":"Drama, Theatre, Performance Studies","openExternal":false,"url":"/core/elements/subject/Drama,%20Theatre,%20Performance%20Studies/2825E4E39F2D641B36543EE80FB1DEA3"},{"id":"menu_item-0_cat-4_subCat-1_link-5","label":"Earth and Environmental Sciences","openExternal":false,"url":"/core/elements/subject/Earth%20and%20Environmental%20Sciences/F470FBF5683D93478C7CAE5A30EF9AE8"},{"id":"menu_item-0_cat-4_subCat-1_link-6","label":"Economics","openExternal":false,"url":"/core/elements/subject/Economics/FA44491F1F55F917C43E9832715B9DE7"},{"id":"menu_item-0_cat-4_subCat-1_link-7","label":"Education","openExternal":false,"url":"/core/elements/subject/Education/550D00F8DF590F2598CF7CC0038E24D1"},{"id":"menu_item-0_cat-4_subCat-1_link-8","label":"Engineering","openExternal":false,"url":"/core/elements/subject/Engineering/CCC62FE56DCC1D050CA1340C1CCF46F5"}]},{"id":"menu_item-0_cat-4_subCat-2","label":" Subjects (F-O)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-4_subCat-2_link-0","label":"Film, Media, Mass Communication","openExternal":false,"url":"/core/elements/subject/Film,%20Media,%20Mass%20Communication/4B91F10E834814A90CE718E7831E492F"},{"id":"menu_item-0_cat-4_subCat-2_link-1","label":"History","openExternal":false,"url":"/core/elements/subject/History/66BE42A30172E280FDE64F8EE2F485B0"},{"id":"menu_item-0_cat-4_subCat-2_link-2","label":"Language and Linguistics","openExternal":false,"url":"/core/elements/subject/Language%20and%20Linguistics/140D314098408C26BDF3009F7FF858E9"},{"id":"menu_item-0_cat-4_subCat-2_link-3","label":"Law","openExternal":false,"url":"/core/elements/subject/Law/7C9FB6788DD8D7E6696263BC774F4D5B"},{"id":"menu_item-0_cat-4_subCat-2_link-4","label":"Life Sciences","openExternal":false,"url":"/core/elements/subject/Life%20Sciences/E044EF2F61B601378786E9EDA901B2D5"},{"id":"menu_item-0_cat-4_subCat-2_link-5","label":"Literature","openExternal":false,"url":"/core/elements/subject/Literature/F2434ADC122145767C6C3B988A8E9BD5"},{"id":"menu_item-0_cat-4_subCat-2_link-6","label":"Management","openExternal":false,"url":"/core/elements/subject/Management/0EDCC0540639B06A5669BDEEF50C4CBE"},{"id":"menu_item-0_cat-4_subCat-2_link-7","label":"Mathematics","openExternal":false,"url":"/core/elements/subject/Mathematics/FA1467C44B5BD46BB8AA6E58C2252153"},{"id":"menu_item-0_cat-4_subCat-2_link-8","label":"Medicine","openExternal":false,"url":"/core/elements/subject/Medicine/66FF02B2A4F83D9A645001545197F287"},{"id":"menu_item-0_cat-4_subCat-2_link-9","label":"Music","openExternal":false,"url":"/core/elements/subject/Music/A370B5604591CB3C7F9AFD892DDF7BD1"}]},{"id":"menu_item-0_cat-4_subCat-3","label":" Subjects (P-Z)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-4_subCat-3_link-0","label":"Philosophy","openExternal":false,"url":"/core/elements/subject/Philosophy/2D1AC3C0E174F1F1A93F8C7DE19E0FAB"},{"id":"menu_item-0_cat-4_subCat-3_link-1","label":"Physics and Astronomy","openExternal":false,"url":"/core/elements/subject/Physics%20and%20Astronomy/DBFB610E9FC5E012C011430C0573CC06"},{"id":"menu_item-0_cat-4_subCat-3_link-2","label":"Politics and International Relations","openExternal":false,"url":"/core/elements/subject/Politics%20and%20International%20Relations/3BF83347E5E456DAC34F3FABFC8BBF4E"},{"id":"menu_item-0_cat-4_subCat-3_link-3","label":"Psychology","openExternal":false,"url":"/core/elements/subject/Psychology/21B42A72BA3E4CB0E3315E5B1B71B07F"},{"id":"menu_item-0_cat-4_subCat-3_link-4","label":"Religion","openExternal":false,"url":"/core/elements/subject/Religion/53E51D24FB488962B9364A2C4B45D1C3"},{"id":"menu_item-0_cat-4_subCat-3_link-5","label":"Sociology","openExternal":false,"url":"/core/elements/subject/Sociology/0E2CD53A93003DF17E52D753F6E90683"},{"id":"menu_item-0_cat-4_subCat-3_link-6","label":"Statistics and Probability","openExternal":false,"url":"/core/elements/subject/Statistics%20and%20Probability/3150B8B0D1B0B4E8DC17EC9EDFD9CA26"}]}]},{"id":"menu_item-0_cat-5","label":"Textbooks","openExternal":null,"url":"/core/publications/textbooks","menuTopics":[{"id":"menu_item-0_cat-5_subCat-0","label":"Explore","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-5_subCat-0_link-0","label":"Cambridge Higher Education","openExternal":false,"url":"/highereducation/"},{"id":"menu_item-0_cat-5_subCat-0_link-1","label":"Title list","openExternal":false,"url":"/highereducation/services/librarians/title-list"},{"id":"menu_item-0_cat-5_subCat-0_link-2","label":"New titles","openExternal":false,"url":"/highereducation/search?sortBy=publication_date&aggs=%24productDate%24Last%25206%2520months%3Atrue%26Last%252012%2520months%3Atrue%26Last%25203%2520years%3Atrue%26Over%25203%2520years%3Atrue%3B%3B&event=SE-AU_PREF"}]}]},{"id":"menu_item-0_cat-6","label":"Collections","openExternal":null,"url":"/core/publications/collections","menuTopics":[{"id":"menu_item-0_cat-6_subCat-0","label":"Book collections","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-6_subCat-0_link-0","label":"Cambridge Companions","openExternal":false,"url":"/core/publications/collections/cambridge-companions"},{"id":"menu_item-0_cat-6_subCat-0_link-1","label":"Cambridge Editions","openExternal":false,"url":"/core/publications/collections/cambridge-editions"},{"id":"menu_item-0_cat-6_subCat-0_link-2","label":"Cambridge Histories","openExternal":false,"url":"/core/publications/collections/cambridge-histories"},{"id":"menu_item-0_cat-6_subCat-0_link-3","label":"Cambridge Library Collection","openExternal":false,"url":"/core/publications/collections/cambridge-library-collection"},{"id":"menu_item-0_cat-6_subCat-0_link-4","label":"Cambridge Shakespeare","openExternal":false,"url":"/core/publications/collections/cambridge-shakespeare"},{"id":"menu_item-0_cat-6_subCat-0_link-5","label":"Cambridge Handbooks","openExternal":false,"url":"/core/publications/collections/cambridgehandbooks"}]},{"id":"menu_item-0_cat-6_subCat-1","label":" Book collections (cont.)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-6_subCat-1_link-0","label":"Dispute Settlement Reports Online","openExternal":false,"url":"/core/publications/collections/dispute-settlement-reports-online"},{"id":"menu_item-0_cat-6_subCat-1_link-1","label":"Flip it Open","openExternal":false,"url":"/core/publications/collections/flip-it-open"},{"id":"menu_item-0_cat-6_subCat-1_link-2","label":"Hemingway Letters","openExternal":false,"url":"/core/publications/collections/hemingway-letters"},{"id":"menu_item-0_cat-6_subCat-1_link-3","label":"Shakespeare Survey","openExternal":false,"url":"/core/publications/collections/shakespeare-survey"},{"id":"menu_item-0_cat-6_subCat-1_link-4","label":"Stahl Online","openExternal":false,"url":"/core/publications/collections/stahl-online"},{"id":"menu_item-0_cat-6_subCat-1_link-5","label":"The Correspondence of Isaac Newton","openExternal":false,"url":"/core/publications/collections/the-correspondence-of-isaac-newton"}]},{"id":"menu_item-0_cat-6_subCat-2","label":"Journal collections","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-6_subCat-2_link-0","label":"Cambridge Forum","openExternal":false,"url":"/core/publications/collections/cambridge-forum"},{"id":"menu_item-0_cat-6_subCat-2_link-1","label":"Cambridge Law Reports Collection","openExternal":false,"url":"/core/publications/collections/cambridge-law-reports-collection"},{"id":"menu_item-0_cat-6_subCat-2_link-2","label":"Cambridge Prisms","openExternal":false,"url":"/core/publications/collections/cambridge-prisms"},{"id":"menu_item-0_cat-6_subCat-2_link-3","label":"Research Directions","openExternal":false,"url":"/core/publications/collections/research-directions"}]},{"id":"menu_item-0_cat-6_subCat-3","label":"Series","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-6_subCat-3_link-0","label":"All series","openExternal":false,"url":"/core/publications/collections/series"}]}]},{"id":"menu_item-0_cat-7","label":"Partners","openExternal":null,"url":"/core/publications/publishing-partners","menuTopics":[{"id":"menu_item-0_cat-7_subCat-0","label":"Partners","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-7_subCat-0_link-0","label":"Agenda Publishing","openExternal":false,"url":"/core/publications/publishing-partners/agenda-publishing"},{"id":"menu_item-0_cat-7_subCat-0_link-1","label":"Amsterdam University Press","openExternal":false,"url":"/core/publications/publishing-partners/amsterdam-university-press"},{"id":"menu_item-0_cat-7_subCat-0_link-2","label":"Anthem Press","openExternal":false,"url":"/core/publications/publishing-partners/anthem-press"},{"id":"menu_item-0_cat-7_subCat-0_link-3","label":"Boydell & Brewer","openExternal":false,"url":"/core/publications/publishing-partners/boydell-brewer"},{"id":"menu_item-0_cat-7_subCat-0_link-4","label":"Bristol University Press","openExternal":false,"url":"/core/publications/publishing-partners/bristol-university-press"},{"id":"menu_item-0_cat-7_subCat-0_link-5","label":"Edinburgh University Press","openExternal":false,"url":"/core/publications/publishing-partners/edinburgh-university-press"},{"id":"menu_item-0_cat-7_subCat-0_link-6","label":"Emirates Center for Strategic Studies and Research","openExternal":false,"url":"/core/publications/publishing-partners/emirates-center"},{"id":"menu_item-0_cat-7_subCat-0_link-7","label":"Facet Publishing","openExternal":false,"url":"/core/publications/publishing-partners/facet-publishing"}]},{"id":"menu_item-0_cat-7_subCat-1","label":" Partners (cont.)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-0_cat-7_subCat-1_link-0","label":"Foundation Books","openExternal":false,"url":"/core/publications/publishing-partners/foundation-books"},{"id":"menu_item-0_cat-7_subCat-1_link-1","label":"Intersentia","openExternal":false,"url":"/core/publications/publishing-partners/intersentia"},{"id":"menu_item-0_cat-7_subCat-1_link-2","label":"ISEAS-Yusof Ishak Institute","openExternal":false,"url":"/core/publications/publishing-partners/iseas"},{"id":"menu_item-0_cat-7_subCat-1_link-3","label":"Jagiellonian University Press","openExternal":false,"url":"/core/publications/publishing-partners/jagiellonian-university-press"},{"id":"menu_item-0_cat-7_subCat-1_link-4","label":"Royal Economic Society","openExternal":false,"url":"/core/publications/publishing-partners/royal-economic-society"},{"id":"menu_item-0_cat-7_subCat-1_link-5","label":"Unisa Press","openExternal":false,"url":"/core/publications/publishing-partners/unisa-press"},{"id":"menu_item-0_cat-7_subCat-1_link-6","label":"The University of Adelaide Press","openExternal":false,"url":"/core/publications/publishing-partners/university-adelaide-press"},{"id":"menu_item-0_cat-7_subCat-1_link-7","label":"Wits University Press","openExternal":false,"url":"/core/publications/publishing-partners/wits-university-press"}]}]}]},{"id":"menu_item-1","label":"Services","openExternal":null,"url":"","isMegaMenu":true,"menuCats":[{"id":"menu_item-1_cat-0","label":"About","openExternal":null,"url":"/core/services/about/about","menuTopics":[{"id":"menu_item-1_cat-0_subCat-0","label":"About Cambridge Core","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-0_subCat-0_link-0","label":"About","openExternal":false,"url":"/core/services/about/about"},{"id":"menu_item-1_cat-0_subCat-0_link-1","label":"Accessibility","openExternal":false,"url":"/core/services/about/accessibility"},{"id":"menu_item-1_cat-0_subCat-0_link-2","label":"CrossMark policy","openExternal":false,"url":"/core/services/about/crossmark-policy"},{"id":"menu_item-1_cat-0_subCat-0_link-3","label":"Ethical Standards","openExternal":false,"url":"/core/services/about/ethical-standards"}]},{"id":"menu_item-1_cat-0_subCat-1","label":"Environment and sustainability","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-0_subCat-1_link-0","label":"Environment and sustainability","openExternal":false,"url":"/core/services/about/environment-and-sustainability"},{"id":"menu_item-1_cat-0_subCat-1_link-1","label":"Reducing print","openExternal":false,"url":"/core/services/about/reducing-print"},{"id":"menu_item-1_cat-0_subCat-1_link-2","label":"Journals moving to online only","openExternal":false,"url":"/core/services/about/journals-moving-to-online-only"}]},{"id":"menu_item-1_cat-0_subCat-2","label":"Guides","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-0_subCat-2_link-0","label":"User guides","openExternal":false,"url":"/core/services/about/user-guides"},{"id":"menu_item-1_cat-0_subCat-2_link-1","label":"User Guides and Videos","openExternal":false,"url":"/core/services/about/user-guides-and-videos"},{"id":"menu_item-1_cat-0_subCat-2_link-2","label":"Support Videos","openExternal":false,"url":"/core/services/about/support-videos"},{"id":"menu_item-1_cat-0_subCat-2_link-3","label":"Training","openExternal":false,"url":"/core/services/about/training"}]},{"id":"menu_item-1_cat-0_subCat-3","label":"Help","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-0_subCat-3_link-0","label":"Cambridge Core help","openExternal":false,"url":"https://corehelp.cambridge.org/"},{"id":"menu_item-1_cat-0_subCat-3_link-1","label":"Contact us","openExternal":false,"url":"https://corehelp.cambridge.org/hc/en-gb/p/contact-information"},{"id":"menu_item-1_cat-0_subCat-3_link-2","label":"Technical support","openExternal":false,"url":"https://corehelp.cambridge.org/hc/en-gb/requests/new"}]}]},{"id":"menu_item-1_cat-1","label":"Agents","openExternal":null,"url":"/core/services/agents/services-for-agents","menuTopics":[{"id":"menu_item-1_cat-1_subCat-0","label":"Services for agents","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-1_subCat-0_link-0","label":"Services for agents","openExternal":false,"url":"/core/services/agents/services-for-agents"},{"id":"menu_item-1_cat-1_subCat-0_link-1","label":"Journals for agents","openExternal":false,"url":"/core/services/agents/journals-for-agents"},{"id":"menu_item-1_cat-1_subCat-0_link-2","label":"Books for agents","openExternal":false,"url":"/core/services/agents/books-for-agents"},{"id":"menu_item-1_cat-1_subCat-0_link-3","label":"Price list","openExternal":false,"url":"/core/services/agents/price-list"}]}]},{"id":"menu_item-1_cat-2","label":"Authors","openExternal":null,"url":"/core/services/authors/authors","menuTopics":[{"id":"menu_item-1_cat-2_subCat-0","label":"Journals","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-2_subCat-0_link-0","label":"Journals","openExternal":false,"url":"/core/services/authors/journals"},{"id":"menu_item-1_cat-2_subCat-0_link-1","label":"Journal publishing statistics","openExternal":false,"url":"/core/services/authors/journal-publishing-statistics"},{"id":"menu_item-1_cat-2_subCat-0_link-2","label":"Corresponding author","openExternal":false,"url":"/core/services/authors/corresponding-author"},{"id":"menu_item-1_cat-2_subCat-0_link-3","label":"Seeking permission to use copyrighted material","openExternal":false,"url":"/core/services/authors/seeking-permission-to-use-copyrighted-material"},{"id":"menu_item-1_cat-2_subCat-0_link-4","label":"Publishing supplementary material","openExternal":false,"url":"/core/services/authors/publishing-supplementary-material"},{"id":"menu_item-1_cat-2_subCat-0_link-5","label":"Writing an effective abstract","openExternal":false,"url":"/core/services/authors/writing-an-effective-abstract"},{"id":"menu_item-1_cat-2_subCat-0_link-6","label":"Journal production - FAQs","openExternal":false,"url":"/core/services/authors/journal-production-faqs"}]},{"id":"menu_item-1_cat-2_subCat-1","label":"Journals (cont.)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-2_subCat-1_link-0","label":"Author affiliations","openExternal":false,"url":"/core/services/authors/author-affiliations"},{"id":"menu_item-1_cat-2_subCat-1_link-1","label":"Co-reviewing policy","openExternal":false,"url":"/core/services/authors/co-reviewing-policy"},{"id":"menu_item-1_cat-2_subCat-1_link-2","label":"Digital Author Publishing Agreement - FAQs","openExternal":false,"url":"/core/services/authors/digital-author-publishing-agreement-faqs"},{"id":"menu_item-1_cat-2_subCat-1_link-3","label":"Anonymising your manuscript","openExternal":false,"url":"/core/services/authors/anonymising-your-manuscript"},{"id":"menu_item-1_cat-2_subCat-1_link-4","label":"Publishing open access","openExternal":false,"url":"/core/services/authors/publishing-open-access"},{"id":"menu_item-1_cat-2_subCat-1_link-5","label":"Converting your article to open access","openExternal":false,"url":"/core/services/authors/converting-your-article-to-open-access"},{"id":"menu_item-1_cat-2_subCat-1_link-6","label":"Publishing Open Access - webinars","openExternal":false,"url":"/core/services/authors/publishing-open-access-webinars"}]},{"id":"menu_item-1_cat-2_subCat-2","label":"Journals (cont.)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-2_subCat-2_link-0","label":"Preparing and submitting your paper","openExternal":false,"url":"/core/services/authors/preparing-and-submitting-your-paper"},{"id":"menu_item-1_cat-2_subCat-2_link-1","label":"Publishing an accepted paper","openExternal":false,"url":"/core/services/authors/publishing-an-accepted-paper"},{"id":"menu_item-1_cat-2_subCat-2_link-2","label":"Promoting your published paper","openExternal":false,"url":"/core/services/authors/promoting-your-published-paper"},{"id":"menu_item-1_cat-2_subCat-2_link-3","label":"Measuring impact","openExternal":false,"url":"/core/services/authors/measuring-impact"},{"id":"menu_item-1_cat-2_subCat-2_link-4","label":"Journals artwork guide","openExternal":false,"url":"/core/services/authors/journals-artwork-guide"},{"id":"menu_item-1_cat-2_subCat-2_link-5","label":"Using ORCID","openExternal":false,"url":"/core/services/authors/using-orcid"}]},{"id":"menu_item-1_cat-2_subCat-3","label":"Books","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-2_subCat-3_link-0","label":"Books","openExternal":false,"url":"/core/services/authors/books"},{"id":"menu_item-1_cat-2_subCat-3_link-1","label":"Marketing your book","openExternal":false,"url":"/core/services/authors/marketing-your-book"},{"id":"menu_item-1_cat-2_subCat-3_link-2","label":"Author guides for Cambridge Elements","openExternal":false,"url":"/core/services/authors/elements-user-guides"}]}]},{"id":"menu_item-1_cat-3","label":"Corporates","openExternal":null,"url":"/core/services/corporates/services-for-corporates","menuTopics":[{"id":"menu_item-1_cat-3_subCat-0","label":"Corporates","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-3_subCat-0_link-0","label":"Commercial reprints","openExternal":false,"url":"/core/services/corporates/commercial-reprints"},{"id":"menu_item-1_cat-3_subCat-0_link-1","label":"Advertising","openExternal":false,"url":"/core/services/corporates/advertising"},{"id":"menu_item-1_cat-3_subCat-0_link-2","label":"Sponsorship","openExternal":false,"url":"/core/services/corporates/sponsorship"},{"id":"menu_item-1_cat-3_subCat-0_link-3","label":"Book special sales","openExternal":false,"url":"/core/services/corporates/book-special-sales"},{"id":"menu_item-1_cat-3_subCat-0_link-4","label":"Contact us","openExternal":false,"url":"/core/services/corporates/contact-us"}]}]},{"id":"menu_item-1_cat-4","label":"Editors","openExternal":null,"url":"/core/services/editors/editors","menuTopics":[{"id":"menu_item-1_cat-4_subCat-0","label":"Information","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-4_subCat-0_link-0","label":"Journal development","openExternal":false,"url":"/core/services/editors/journal-development"},{"id":"menu_item-1_cat-4_subCat-0_link-1","label":"Peer review for editors","openExternal":false,"url":"/core/services/editors/peer-review-for-editors"},{"id":"menu_item-1_cat-4_subCat-0_link-2","label":"Open access for editors","openExternal":false,"url":"/core/services/editors/open-access-for-editors"},{"id":"menu_item-1_cat-4_subCat-0_link-3","label":"Policies and guidelines","openExternal":false,"url":"/core/services/editors/policies-and-guidelines"}]},{"id":"menu_item-1_cat-4_subCat-1","label":"Resources","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-4_subCat-1_link-0","label":"The editor's role","openExternal":false,"url":"/core/services/editors/the-editors-role"},{"id":"menu_item-1_cat-4_subCat-1_link-1","label":"Open research for editors","openExternal":false,"url":"/core/services/editors/open-research-for-editors"},{"id":"menu_item-1_cat-4_subCat-1_link-2","label":"Engagement and promotion","openExternal":false,"url":"/core/services/editors/engagement-and-promotion"},{"id":"menu_item-1_cat-4_subCat-1_link-3","label":"Blogging","openExternal":false,"url":"/core/services/editors/blogging"},{"id":"menu_item-1_cat-4_subCat-1_link-4","label":"Social media","openExternal":false,"url":"/core/services/editors/social-media"}]}]},{"id":"menu_item-1_cat-5","label":"Librarians","openExternal":null,"url":"/core/services/librarians/librarians","menuTopics":[{"id":"menu_item-1_cat-5_subCat-0","label":"Information","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-5_subCat-0_link-0","label":"Open Access for Librarians","openExternal":false,"url":"/core/services/librarians/open-access-for-librarians"},{"id":"menu_item-1_cat-5_subCat-0_link-1","label":"Transformative agreements","openExternal":false,"url":"https://www.cambridge.org/core/services/open-access-policies/read-and-publish-agreements"},{"id":"menu_item-1_cat-5_subCat-0_link-2","label":"Transformative Agreements - FAQs","openExternal":false,"url":"/core/services/librarians/transformative-agreements-faqs"},{"id":"menu_item-1_cat-5_subCat-0_link-3","label":"Evidence based acquisition","openExternal":false,"url":"/core/services/librarians/evidence-based-acquisition"},{"id":"menu_item-1_cat-5_subCat-0_link-4","label":"ebook news & updates","openExternal":false,"url":"/core/services/librarians/ebook-news-and-updates"},{"id":"menu_item-1_cat-5_subCat-0_link-5","label":"Cambridge libraries of the world podcast","openExternal":false,"url":"/core/services/librarians/cambridge-libraries-of-the-world-podcast"},{"id":"menu_item-1_cat-5_subCat-0_link-6","label":"Purchasing models","openExternal":false,"url":"/core/services/librarians/purchasing-models"},{"id":"menu_item-1_cat-5_subCat-0_link-7","label":"Journals Publishing Updates","openExternal":false,"url":"/core/services/librarians/journals-publishing-updates"}]},{"id":"menu_item-1_cat-5_subCat-1","label":"Products","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-5_subCat-1_link-0","label":"Cambridge frontlist","openExternal":false,"url":"/core/services/librarians/cambridge-frontlist"},{"id":"menu_item-1_cat-5_subCat-1_link-1","label":"Cambridge journals digital archive","openExternal":false,"url":"/core/services/librarians/cambridge-journals-digital-archive"},{"id":"menu_item-1_cat-5_subCat-1_link-2","label":"Hot topics","openExternal":false,"url":"/core/services/librarians/hot-topics"},{"id":"menu_item-1_cat-5_subCat-1_link-3","label":"Other digital products","openExternal":false,"url":"/core/services/librarians/other-digital-products"},{"id":"menu_item-1_cat-5_subCat-1_link-4","label":"Perpetual access products","openExternal":false,"url":"/core/services/librarians/perpetual-access-products"},{"id":"menu_item-1_cat-5_subCat-1_link-5","label":"Price list","openExternal":false,"url":"/core/services/librarians/price-list"},{"id":"menu_item-1_cat-5_subCat-1_link-6","label":"Developing country programme","openExternal":false,"url":"/core/services/librarians/developing-country-programme"},{"id":"menu_item-1_cat-5_subCat-1_link-7","label":"New content","openExternal":false,"url":"/core/services/librarians/new-content"}]},{"id":"menu_item-1_cat-5_subCat-2","label":"Tools","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-5_subCat-2_link-0","label":"Eligibility checker","openExternal":false,"url":"/core/eligibility-checker"},{"id":"menu_item-1_cat-5_subCat-2_link-1","label":"Transformative agreements","openExternal":false,"url":"https://www.cambridge.org/core/services/open-access-policies/read-and-publish-agreements"},{"id":"menu_item-1_cat-5_subCat-2_link-2","label":"KBART","openExternal":false,"url":"https://www.cambridge.org/core/services/librarians/kbart"},{"id":"menu_item-1_cat-5_subCat-2_link-3","label":"MARC records","openExternal":false,"url":"https://www.cambridge.org/core/services/librarians/marc-records"},{"id":"menu_item-1_cat-5_subCat-2_link-4","label":"Using MARCEdit for MARC records","openExternal":false,"url":"/core/services/librarians/using-marcedit-for-marc-records"},{"id":"menu_item-1_cat-5_subCat-2_link-5","label":"Inbound OpenURL specifications","openExternal":false,"url":"/core/services/librarians/inbound-openurl-specifications"},{"id":"menu_item-1_cat-5_subCat-2_link-6","label":"COUNTER report types","openExternal":false,"url":"/core/services/librarians/counter-report-types"}]},{"id":"menu_item-1_cat-5_subCat-3","label":"Resources","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-5_subCat-3_link-0","label":"Catalogues and resources","openExternal":false,"url":"/core/services/librarians/catalogues-and-resources"},{"id":"menu_item-1_cat-5_subCat-3_link-1","label":"Making the most of your EBA","openExternal":false,"url":"/core/services/librarians/making-the-most-of-your-eba"},{"id":"menu_item-1_cat-5_subCat-3_link-2","label":"Posters","openExternal":false,"url":"/core/services/librarians/posters"},{"id":"menu_item-1_cat-5_subCat-3_link-3","label":"Leaflets and brochures","openExternal":false,"url":"/core/services/librarians/leaflets-and-brochures"},{"id":"menu_item-1_cat-5_subCat-3_link-4","label":"Additional resources","openExternal":false,"url":"/core/services/librarians/additional-resources"},{"id":"menu_item-1_cat-5_subCat-3_link-5","label":"Find my sales contact","openExternal":false,"url":"/core/services/librarians/find-my-sales-contact"},{"id":"menu_item-1_cat-5_subCat-3_link-6","label":"Webinars","openExternal":false,"url":"/core/services/librarians/webinars"},{"id":"menu_item-1_cat-5_subCat-3_link-7","label":"Read and publish resources","openExternal":false,"url":"/core/services/librarians/read-and-publish-resources"}]}]},{"id":"menu_item-1_cat-6","label":"Peer review","openExternal":null,"url":"/core/services/peer-review/peer-review","menuTopics":[{"id":"menu_item-1_cat-6_subCat-0","label":"Peer review","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-6_subCat-0_link-0","label":"How to peer review journal articles","openExternal":false,"url":"/core/services/peer-review/how-to-peer-review-journal-articles"},{"id":"menu_item-1_cat-6_subCat-0_link-1","label":"How to peer review book proposals","openExternal":false,"url":"/core/services/peer-review/how-to-peer-review-book-proposals"},{"id":"menu_item-1_cat-6_subCat-0_link-2","label":"How to peer review Registered Reports","openExternal":false,"url":"/core/services/peer-review/how-to-peer-review-registered-reports"},{"id":"menu_item-1_cat-6_subCat-0_link-3","label":"Peer review FAQs","openExternal":false,"url":"/core/services/peer-review/peer-review-faqs"},{"id":"menu_item-1_cat-6_subCat-0_link-4","label":"Ethics in peer review","openExternal":false,"url":"/core/services/peer-review/ethics-in-peer-review"},{"id":"menu_item-1_cat-6_subCat-0_link-5","label":"Online peer review systems","openExternal":false,"url":"/core/services/peer-review/online-peer-review-systems"},{"id":"menu_item-1_cat-6_subCat-0_link-6","label":"A guide to Publons","openExternal":false,"url":"/core/services/peer-review/a-guide-to-publons"}]}]},{"id":"menu_item-1_cat-7","label":"Publishing ethics","openExternal":null,"url":"/core/services/publishing-ethics/publishing-ethics","menuTopics":[{"id":"menu_item-1_cat-7_subCat-0","label":"Journals ","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-7_subCat-0_link-0","label":"Publishing ethics guidelines for journals","openExternal":false,"url":"/core/services/publishing-ethics/publishing-ethics-guidelines-journals"},{"id":"menu_item-1_cat-7_subCat-0_link-1","label":"Core editorial policies for journals","openExternal":false,"url":"/core/services/publishing-ethics/core-editorial-policies-journals"},{"id":"menu_item-1_cat-7_subCat-0_link-2","label":"Authorship and contributorship for journals","openExternal":false,"url":"/core/services/publishing-ethics/authorship-and-contributorship-journals"},{"id":"menu_item-1_cat-7_subCat-0_link-3","label":"Affiliations for journals","openExternal":false,"url":"/core/services/publishing-ethics/affiliations-journals"},{"id":"menu_item-1_cat-7_subCat-0_link-4","label":"Research ethics for journals","openExternal":false,"url":"/core/services/publishing-ethics/research-ethics-journals"},{"id":"menu_item-1_cat-7_subCat-0_link-5","label":"Competing interests and funding for journals","openExternal":false,"url":"/core/services/publishing-ethics/competing-interests-and-funding-journals"}]},{"id":"menu_item-1_cat-7_subCat-1","label":"Journals (cont.)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-7_subCat-1_link-0","label":"Data and supporting evidence for journals","openExternal":false,"url":"/core/services/publishing-ethics/data-and-supporting-evidence-for-journals"},{"id":"menu_item-1_cat-7_subCat-1_link-1","label":"Misconduct for journals","openExternal":false,"url":"/core/services/publishing-ethics/misconduct-journals"},{"id":"menu_item-1_cat-7_subCat-1_link-2","label":"Corrections, retractions and removals for journals","openExternal":false,"url":"/core/services/publishing-ethics/corrections-retractions-and-removals-journals"},{"id":"menu_item-1_cat-7_subCat-1_link-3","label":"Versions and adaptations for journals","openExternal":false,"url":"/core/services/publishing-ethics/versions-and-adaptations-journals"},{"id":"menu_item-1_cat-7_subCat-1_link-4","label":"Libel, defamation and freedom of expression","openExternal":false,"url":"/core/services/publishing-ethics/libel-defamation-and-freedom-of-expression"},{"id":"menu_item-1_cat-7_subCat-1_link-5","label":"Business ethics journals","openExternal":false,"url":"/core/services/publishing-ethics/business-ethics-journals"}]},{"id":"menu_item-1_cat-7_subCat-2","label":"Books","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-7_subCat-2_link-0","label":"Publishing ethics guidelines for books","openExternal":false,"url":"/core/services/publishing-ethics/publishing-ethics-guidelines-books"},{"id":"menu_item-1_cat-7_subCat-2_link-1","label":"Core editorial policies for books","openExternal":false,"url":"/core/services/publishing-ethics/core-editorial-policies-books"},{"id":"menu_item-1_cat-7_subCat-2_link-2","label":"Authorship and contributorship for books","openExternal":false,"url":"/core/services/publishing-ethics/authorship-and-contributorship-books"},{"id":"menu_item-1_cat-7_subCat-2_link-3","label":"Affiliations for books","openExternal":false,"url":"/core/services/publishing-ethics/affiliations-books"},{"id":"menu_item-1_cat-7_subCat-2_link-4","label":"Research ethics for books","openExternal":false,"url":"/core/services/publishing-ethics/research-ethics-books"},{"id":"menu_item-1_cat-7_subCat-2_link-5","label":"Competing interests and funding for books","openExternal":false,"url":"/core/services/publishing-ethics/competing-interests-and-funding-books"}]},{"id":"menu_item-1_cat-7_subCat-3","label":"Books (cont.)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-7_subCat-3_link-0","label":"Data and supporting evidence for books","openExternal":false,"url":"/core/services/publishing-ethics/data-and-supporting-evidence-books"},{"id":"menu_item-1_cat-7_subCat-3_link-1","label":"Misconduct for books","openExternal":false,"url":"/core/services/publishing-ethics/misconduct-books"},{"id":"menu_item-1_cat-7_subCat-3_link-2","label":"Corrections, retractions and removals for books","openExternal":false,"url":"/core/services/publishing-ethics/corrections-retractions-and-removals-books"},{"id":"menu_item-1_cat-7_subCat-3_link-3","label":"Versions and adaptations for books","openExternal":false,"url":"/core/services/publishing-ethics/versions-and-adaptations-books"},{"id":"menu_item-1_cat-7_subCat-3_link-4","label":"Libel, defamation and freedom of expression","openExternal":false,"url":"/core/services/publishing-ethics/libel-defamation-and-freedom-of-expression"},{"id":"menu_item-1_cat-7_subCat-3_link-5","label":"Business ethics books","openExternal":false,"url":"/core/services/publishing-ethics/business-ethics-books"}]}]},{"id":"menu_item-1_cat-8","label":"Publishing partners","openExternal":null,"url":"/core/services/publishing-partners/publishing-partnerships","menuTopics":[{"id":"menu_item-1_cat-8_subCat-0","label":"Publishing partners","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-8_subCat-0_link-0","label":"Publishing partnerships","openExternal":false,"url":"/core/services/publishing-partners/publishing-partnerships"},{"id":"menu_item-1_cat-8_subCat-0_link-1","label":"Partner books","openExternal":false,"url":"/core/services/publishing-partners/partner-books"},{"id":"menu_item-1_cat-8_subCat-0_link-2","label":"eBook publishing partnerships","openExternal":false,"url":"/core/services/publishing-partners/ebook-publishing-partnerships"},{"id":"menu_item-1_cat-8_subCat-0_link-3","label":"Journal publishing partnerships","openExternal":false,"url":"/core/services/publishing-partners/journal-publishing-partnerships"}]},{"id":"menu_item-1_cat-8_subCat-1","label":"Publishing partners (cont.)","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-1_cat-8_subCat-1_link-0","label":"Journals publishing","openExternal":false,"url":"/core/services/publishing-partners/journals-publishing"},{"id":"menu_item-1_cat-8_subCat-1_link-1","label":"Customer support","openExternal":false,"url":"/core/services/publishing-partners/customer-support"},{"id":"menu_item-1_cat-8_subCat-1_link-2","label":"Membership Services","openExternal":false,"url":"/core/services/publishing-partners/membership-services"},{"id":"menu_item-1_cat-8_subCat-1_link-3","label":"Our Team","openExternal":false,"url":"/core/services/publishing-partners/our-team"}]}]}]},{"id":"menu_item-2","label":"Open research","openExternal":null,"url":"","isMegaMenu":true,"menuCats":[{"id":"menu_item-2_cat-0","label":"Open access policies","openExternal":null,"url":"/core/services/open-research-policies/open-access-policies","menuTopics":[{"id":"menu_item-2_cat-0_subCat-0","label":"Open access policies","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-2_cat-0_subCat-0_link-0","label":"Open research","openExternal":false,"url":"/core/services/open-research-policies/open-research"},{"id":"menu_item-2_cat-0_subCat-0_link-1","label":"Open access policies","openExternal":false,"url":"/core/services/open-research-policies/open-access-policies"},{"id":"menu_item-2_cat-0_subCat-0_link-2","label":"Cambridge University Press and Plan S","openExternal":false,"url":"/core/services/open-research-policies/cambridge-university-press-and-plan-s"},{"id":"menu_item-2_cat-0_subCat-0_link-3","label":"Text and data mining","openExternal":false,"url":"/core/services/open-research-policies/text-and-data-mining"},{"id":"menu_item-2_cat-0_subCat-0_link-4","label":"Preprint policy","openExternal":false,"url":"/core/services/open-research-policies/preprint-policy"},{"id":"menu_item-2_cat-0_subCat-0_link-5","label":"Social sharing","openExternal":false,"url":"/core/services/open-research-policies/social-sharing"}]},{"id":"menu_item-2_cat-0_subCat-1","label":"Journals","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-2_cat-0_subCat-1_link-0","label":"Open access journals","openExternal":false,"url":"/core/services/open-research-policies/open-access-journals"},{"id":"menu_item-2_cat-0_subCat-1_link-1","label":"Gold open access journals","openExternal":false,"url":"/core/services/open-research-policies/gold-open-access-journals"},{"id":"menu_item-2_cat-0_subCat-1_link-2","label":"Transformative journals","openExternal":false,"url":"/core/services/open-research-policies/transformative-journals"},{"id":"menu_item-2_cat-0_subCat-1_link-3","label":"Green Open Access policy for journals","openExternal":false,"url":"/core/services/open-research-policies/green-open-access-policy-for-journals"},{"id":"menu_item-2_cat-0_subCat-1_link-4","label":"Transparent pricing policy for journals","openExternal":false,"url":"/core/services/open-research-policies/transparent-pricing-policy-for-journals"}]},{"id":"menu_item-2_cat-0_subCat-2","label":"Books and Elements","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-2_cat-0_subCat-2_link-0","label":"Open access books","openExternal":false,"url":"/core/services/open-research-policies/open-access-books"},{"id":"menu_item-2_cat-0_subCat-2_link-1","label":"Gold open access books","openExternal":false,"url":"/core/services/open-research-policies/gold-open-access-books"},{"id":"menu_item-2_cat-0_subCat-2_link-2","label":"Green Open Access policy for books","openExternal":false,"url":"/core/services/open-research-policies/green-open-access-policy-for-books"},{"id":"menu_item-2_cat-0_subCat-2_link-3","label":"Open access Elements","openExternal":false,"url":"/core/services/open-research-policies/open-access-elements"}]}]},{"id":"menu_item-2_cat-1","label":"Open access publishing","openExternal":null,"url":"/core/services/open-access-publishing/open-access","menuTopics":[{"id":"menu_item-2_cat-1_subCat-0","label":"About open access","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-2_cat-1_subCat-0_link-0","label":"Open research","openExternal":false,"url":"/core/services/open-access-publishing/open-research"},{"id":"menu_item-2_cat-1_subCat-0_link-1","label":"Open Access Week","openExternal":false,"url":"/core/services/open-access-publishing/open-access-week"},{"id":"menu_item-2_cat-1_subCat-0_link-2","label":"What is open access?","openExternal":false,"url":"/core/services/open-access-publishing/open-access"},{"id":"menu_item-2_cat-1_subCat-0_link-3","label":"Open access glossary","openExternal":false,"url":"/core/services/open-access-publishing/open-access-glossary"},{"id":"menu_item-2_cat-1_subCat-0_link-4","label":"Open access myths","openExternal":false,"url":"/core/services/open-access-publishing/open-access-myths"},{"id":"menu_item-2_cat-1_subCat-0_link-5","label":"Hybrid Open Access FAQs","openExternal":false,"url":"/core/services/open-access-publishing/hybrid-open-access-faqs"},{"id":"menu_item-2_cat-1_subCat-0_link-6","label":"Eligibility checker","openExternal":false,"url":"/core/eligibility-checker"}]},{"id":"menu_item-2_cat-1_subCat-1","label":"Open access resources","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-2_cat-1_subCat-1_link-0","label":"Open access resources","openExternal":false,"url":"/core/services/open-access-publishing/open-access-resources"},{"id":"menu_item-2_cat-1_subCat-1_link-1","label":"Benefits of open access","openExternal":false,"url":"/core/services/open-access-publishing/benefits-of-open-access"},{"id":"menu_item-2_cat-1_subCat-1_link-2","label":"Creative commons licenses","openExternal":false,"url":"/core/services/open-access-publishing/creative-commons-licenses"},{"id":"menu_item-2_cat-1_subCat-1_link-3","label":"Funder policies and mandates","openExternal":false,"url":"/core/services/open-access-publishing/funder-policies-and-mandates"},{"id":"menu_item-2_cat-1_subCat-1_link-4","label":"Article type definitions","openExternal":false,"url":"/core/services/open-access-publishing/article-type-definitions"},{"id":"menu_item-2_cat-1_subCat-1_link-5","label":"Convert your article to Open Access","openExternal":false,"url":"/core/services/open-access-publishing/convert-your-article-to-open-access"},{"id":"menu_item-2_cat-1_subCat-1_link-6","label":"Open access video resources","openExternal":false,"url":"/core/services/open-access-publishing/open-access-video-resources"}]}]},{"id":"menu_item-2_cat-2","label":"Open research initiatives","openExternal":null,"url":"","menuTopics":[{"id":"menu_item-2_cat-2_subCat-0","label":"Research transparency","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-2_cat-2_subCat-0_link-0","label":"Transparency and openness","openExternal":false,"url":"/core/services/open-research-initiatives/transparency-and-openness"},{"id":"menu_item-2_cat-2_subCat-0_link-1","label":"Open Practice Badges","openExternal":false,"url":"/core/services/open-research-initiatives/open-practice-badges"},{"id":"menu_item-2_cat-2_subCat-0_link-2","label":"OA organisations, initiatives & directories","openExternal":false,"url":"/core/services/open-research-initiatives/oa-organisations-initiatives-and-directories"},{"id":"menu_item-2_cat-2_subCat-0_link-3","label":"Registered Reports","openExternal":false,"url":"/core/services/open-research-initiatives/registered-reports"},{"id":"menu_item-2_cat-2_subCat-0_link-4","label":"Annotation for Transparent Inquiry (ATI)","openExternal":false,"url":"/core/services/open-research-initiatives/annotation-for-transparent-inquiry-ati"}]},{"id":"menu_item-2_cat-2_subCat-1","label":"Journal flips","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-2_cat-2_subCat-1_link-0","label":"Open access journal flips","openExternal":false,"url":"/core/services/open-research-initiatives/open-access-journal-flips"},{"id":"menu_item-2_cat-2_subCat-1_link-1","label":"OA Journal Flip FAQs","openExternal":false,"url":"/core/services/open-research-initiatives/oa-journal-flip-faqs"}]},{"id":"menu_item-2_cat-2_subCat-2","label":"Flip it Open","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-2_cat-2_subCat-2_link-0","label":"Flip it Open","openExternal":false,"url":"/core/services/open-research-initiatives/flip-it-open"},{"id":"menu_item-2_cat-2_subCat-2_link-1","label":"Flip it Open FAQs","openExternal":false,"url":"/core/services/open-research-initiatives/flip-it-open-faqs"}]}]},{"id":"menu_item-2_cat-3","label":"Open access funding","openExternal":null,"url":"/core/services/open-access-funding/funding-open-access-publication","menuTopics":[{"id":"menu_item-2_cat-3_subCat-0","label":"Open access funding","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-2_cat-3_subCat-0_link-0","label":"Funding open access publication","openExternal":false,"url":"/core/services/open-access-funding/funding-open-access-publication"},{"id":"menu_item-2_cat-3_subCat-0_link-1","label":"Cambridge Open Equity Initiative","openExternal":false,"url":"/core/services/open-access-funding/cambridge-open-equity-initiative"}]}]},{"id":"menu_item-2_cat-4","label":" Cambridge Open Engage","openExternal":null,"url":"/core/services/cambridge-open-engage/cambridge-open-engage","menuTopics":[{"id":"menu_item-2_cat-4_subCat-0","label":" Cambridge Open Engage","openExternal":null,"url":"","menuLinks":[{"id":"menu_item-2_cat-4_subCat-0_link-0","label":"Cambridge Open Engage","openExternal":false,"url":"/core/services/cambridge-open-engage/cambridge-open-engage"},{"id":"menu_item-2_cat-4_subCat-0_link-1","label":"Partner With Us","openExternal":false,"url":"/core/services/cambridge-open-engage/engage-partner-with-us"},{"id":"menu_item-2_cat-4_subCat-0_link-2","label":"Branded Hubs","openExternal":false,"url":"/core/services/cambridge-open-engage/engage-branded-hubs"},{"id":"menu_item-2_cat-4_subCat-0_link-3","label":"Event Workspaces","openExternal":false,"url":"/core/services/cambridge-open-engage/engage-event-workspaces"},{"id":"menu_item-2_cat-4_subCat-0_link-4","label":"Partner Resources","openExternal":false,"url":"/core/services/cambridge-open-engage/engage-partner-resources"},{"id":"menu_item-2_cat-4_subCat-0_link-5","label":"APSA Preprints","openExternal":false,"url":"/core/services/cambridge-open-engage/engage-apsa-preprints"},{"id":"menu_item-2_cat-4_subCat-0_link-6","label":"APSA Preprints FAQs","openExternal":false,"url":"/core/services/cambridge-open-engage/engage-apsa-preprints-faqs"}]}]}]}]}}</script> </div> <platform-header id='platform-header-wc' platform='core' env='prod' institution-log-in-url='https://shibboleth.cambridge.org/CJOShibb2/index?app=https%3A%2F%2Fwww.cambridge.org%2Fcore%2Fshibboleth%3Fref%3D%2Fcore%2Felements%2Fheritage-and-transformation-of-an-african-popular-music%2FE8A1EAEE4FB07A976F3F5BA276E6339C' manage-account-url='/core/login' base-url='/core/services/' class='platform-header-wc' search-phrase='' is-preview='false' hide-search='false' style="display: none" ></platform-header> <script> const platformHeader = $('#platform-header'); const platformHeaderWc = $('#platform-header-wc'); platformHeaderWc.prop('initialData', window.__PLATFORM_HEADER_DATA__); platformHeaderWc.on('initialized', function () { platformHeader.hide(); platformHeaderWc.show(); }); const createForm = function (searchPhrase) { const form = document.createElement('form'); form.style.display = 'none'; form.method = 'GET'; form.action = '/core/search'; const input = document.createElement('input'); input.type = 'hidden'; input.name = 'q'; input.value = searchPhrase; form.appendChild(input); return form; }; platformHeaderWc.on('search', function (e) { const searchPhrase = e?.originalEvent?.detail[0]?.phrase; if (!searchPhrase) { return; } const form = createForm(searchPhrase); document.body.appendChild(form); $('form').submit(); document.body.removeChild(form); }); </script><div class="flash-message-container" role="alert"> <div class="flash-message"> <script> var AOP = AOP || {}; $( document ).ready(function() { if (AOP.onLoadfocusTriggered !== true) { if($(".alert-box").length) { AOP.enableKeyboardAccess($(".alert-box")); } AOP.onLoadfocusTriggered = true; } }); </script> <div id="ajaxMessages" class="ajaxMessages"></div> </div> </div> <div class="article-wrapper"> <link rel="preload" href="/core/page-component/06cd607.js" as="script"><link rel="preload" href="/core/page-component/20147ec.js" as="script"><link rel="preload" href="/core/page-component/css/styles.css?hash=44de98b" as="style"><link rel="preload" href="/core/page-component/722ace3.js" as="script"><link rel="preload" href="/core/page-component/css/app.css?hash=f1e6144" as="style"><link rel="preload" href="/core/page-component/6f4302c.js" as="script"><link rel="stylesheet" href="/core/page-component/css/styles.css?hash=44de98b"><link rel="stylesheet" href="/core/page-component/css/app.css?hash=f1e6144"> <div role="main" class="page-component"> <div data-server-rendered="true" id="__nuxt"><div id="__layout"><div><div data-v-9124f604><div style="display: none;" data-v-9124f604> Hostname: page-component-586b7cd67f-t7czq Total loading time: 0 Render date: 2024-11-26T12:14:08.006Z Has data issue: false hasContentIssue false </div> <div class="container-fluid breadcrumbs-wrapper" data-v-3692cf84 data-v-9124f604><div class="row crumbs-row" data-v-3692cf84><div class="breadcrumbs-wrapper__list" data-v-3692cf84><div class="breadcrumbs-wrapper__list__wrapper" data-v-3692cf84> <div role="navigation" class="breadcrumbs-wrapper__list__wrapper__crumbs" data-v-3692cf84><ul data-test-id="breadcrumbs" class="page-breadcrumbs" data-v-3692cf84><li class="page-breadcrumbs__item" data-v-3692cf84><a href="/core" class="app-link app-link__text app-link--accent" data-v-63dfaf6e data-v-3692cf84><span data-v-63dfaf6e>Home</span> </a></li><li class="page-breadcrumbs__item" data-v-3692cf84><span aria-hidden="true" class="breadcrumbs-wrapper__arrow" data-v-3692cf84>></span><a href="/core/publications/elements" class="app-link app-link__text app-link--accent" data-v-63dfaf6e data-v-3692cf84><span data-v-63dfaf6e>Cambridge Elements</span> </a></li><li class="page-breadcrumbs__item" data-v-3692cf84><span aria-hidden="true" class="breadcrumbs-wrapper__arrow" data-v-3692cf84>></span><a href="/core/publications/elements/critical-heritage-studie" class="app-link app-link__text app-link--accent" data-v-63dfaf6e data-v-3692cf84><span data-v-63dfaf6e>Elements in Critical Heritage Studies</span> </a></li><li class="page-breadcrumbs__item" data-v-3692cf84><span aria-hidden="true" class="breadcrumbs-wrapper__arrow" data-v-3692cf84>></span><span data-v-3692cf84>Heritage and Transformation of an African Popular Music</span></li></ul></div></div> </div></div></div> <div class="container container__modified" data-v-9124f604> <div class="row" data-v-9124f604><div role="complementary" aria-label="table of content" class="column__left" data-v-9124f604><div class="element-cover-box" data-v-9124f604><div class="col row" data-v-6a108d45 data-v-9124f604><img src="https://assets.cambridge.org/97810094/69180/cover/9781009469180.jpg" alt="" class="element__image" data-v-6a108d45></div>  <a target="_blank" href="https://www.cambridge.org/core_title/gb/608061" data-test-id="buttonGetAccess" class="app-link app-link__text app-link-- get-print-copy" data-v-63dfaf6e data-v-780d067e data-v-9124f604><span class="text" data-v-63dfaf6e>Buy print copy </span> <span class="sr-only" data-v-63dfaf6e>[Opens in a new window]</span></a> <hr aria-hidden="true" class="separator default" data-v-7036083a data-v-9124f604></div> <div id="toc" class="table-of-content" data-v-9124f604><h2>Element contents</h2> <div id="toc-list-wrapper" class="table-of-content__wrapper"><ul id="toc-list" class="list"><li class="list__item"><a href="#sec0" class="list__item__link"><span class="toc-title">Summary</span></a></li> <li class="list__item"><a href="#A-sec-4" class="list__item__link"> <span>Introduction</span></a></li><li class="list__item"><a href="#B-sec-1" class="list__item__link"> <span>Popular Music and Heritage</span></a></li><li class="list__item"><a href="#B-sec-2" class="list__item__link"> <span>Heritage at Risk?</span></a></li><li class="list__item"><a href="#B-sec-3" class="list__item__link"> <span>Rethinking Heritage</span></a></li><li class="list__item"><a href="#B-sec-4" class="list__item__link"> <span>The Authentic Place of Heritage</span></a></li><li class="list__item"><a href="#B-sec-5" class="list__item__link"> <span>Methodological Note</span></a></li><li class="list__item"><a href="#B-sec-6" class="list__item__link"> <span>Outlines</span></a></li><li class="list__item"><a href="#A-sec-5" class="list__item__link"> <span>1 Popular Music in the Colony</span></a></li><li class="list__item"><a href="#A-sec-6" class="list__item__link"> <span>2 The Development of (and by) Popular Music</span></a></li><li class="list__item"><a href="#A-sec-7" class="list__item__link"> <span>3 The Musicscape of the Multiparty Years</span></a></li><li class="list__item"><a href="#A-sec-8" class="list__item__link"> <span>4 Poietics of Musical Art in Abidjan</span></a></li><li class="list__item"><a href="#A-sec-9" class="list__item__link"> <span>5 Tribality and Network Logic</span></a></li><li class="list__item"><a href="#A-sec-10" class="list__item__link"> <span>6 Music Creation and Technology</span></a></li><li class="list__item"><a href="#A-sec-11" class="list__item__link"> <span>7 Professionalisation or the Search for ‘Gombos’?</span></a></li><li class="list__item"><a href="#A-sec-12" class="list__item__link"> <span>8 Between Entertainment and Popular Intellectuality</span></a></li><li class="list__item"><a href="#EMT-bp-1" class="list__item__link"> <span>Critical Heritage Studies</span></a></li><li class="list__item"><a href="#EMT-bp-2" class="list__item__link"> <span>Critical Heritage Studies</span></a></li> <li class="list__item"><a href="#footnotes-list" class="list__item__link"><span class="toc-title">Footnotes</span></a></li> <li class="list__item"><a href="#references-list" class="list__item__link"><span class="toc-title">References</span></a></li></ul></div></div></div> <div class="column__main" data-v-9124f604><div class="row" data-v-9124f604><div class="column__main__left" data-v-9124f604><div role="main" aria-label="main content" id="maincontent" class="col" data-v-534a4f5b data-v-9124f604> <div class="row series" data-v-534a4f5b><span data-v-534a4f5b> Series: </span> <a href="/core/publications/elements/critical-heritage-studie" class="app-link part-of__collection app-link__text app-link--accent" data-v-63dfaf6e data-v-534a4f5b><span class="text" data-v-63dfaf6e>Elements in Critical Heritage Studies </span> </a></div> <hgroup data-v-534a4f5b><h1 data-v-534a4f5b>Heritage and Transformation of an African Popular Music</h1> </hgroup>  <div class="row published-date" data-v-534a4f5b><p data-v-534a4f5b> Published online by Cambridge University Press: <strong data-v-534a4f5b><span class="app-date" data-v-d415a782 data-v-534a4f5b> 26 November 2024 </span></strong></p></div> <div class="contributors-details" data-v-99f6eb26 data-v-534a4f5b><div class="row contributors" data-v-99f6eb26><div class="col" data-v-99f6eb26><div class="row contributor-type" data-v-792406ce data-v-99f6eb26> <div class="contributor-type__contributor" data-v-792406ce><a href="/core/search?filters%5BauthorTerms%5D=Aghi%20Bahi&eventCode=SE-AU" class="app-link app-link__text app-link--accent" data-v-63dfaf6e data-v-792406ce><span data-v-63dfaf6e>Aghi Bahi</span> </a>  <span data-v-792406ce></span></div> </div> </div> <div class="col-2 collapse-link" data-v-99f6eb26><a href="#authors-details" data-toggle="collapse" aria-expanded="false" aria-controls="authors-details" class="app-link collapsed app-link__text-icon app-link--secondary reverse" data-v-63dfaf6e data-v-99f6eb26><img src="data:image/svg+xml;base64,PHN2ZyB3aWR0aD0iMTEiIGhlaWdodD0iNiIgdmlld0JveD0iMCAwIDExIDYiIGZpbGw9Im5vbmUiIHhtbG5zPSJodHRwOi8vd3d3LnczLm9yZy8yMDAwL3N2ZyI+CjxwYXRoIGZpbGwtcnVsZT0iZXZlbm9kZCIgY2xpcC1ydWxlPSJldmVub2RkIiBkPSJNNS41MDAwNiA2QzUuMzI4NDYgNiA1LjE2Mzk4IDUuOTMzMzkgNS4wNDI1MiA1LjgxNTAxTDAuMTg5NDQ4IDEuMDc3OEMtMC4wNjMxNzYzIDAuODMxMjU3IC0wLjA2MzE3NjMgMC40MzE0NTIgMC4xODk2MSAwLjE4NDkwOEMwLjQ0MjM5NiAtMC4wNjE2MzYgMC44NTIwNjIgLTAuMDYxNjM2IDEuMTA0NTIgMC4xODQ5MDhMNS41MDAwNiA0LjQ3NTc1TDkuODk1NiAwLjE4NDkwOEMxMC4xNDgyIC0wLjA2MTYzNiAxMC41NTc5IC0wLjA2MTYzNiAxMC44MTA1IDAuMTg0OTA4QzExLjA2MzEgMC40MzE0NTIgMTEuMDYzMSAwLjgzMTEgMTAuODEwNyAxLjA3NzhMNS45NTc2IDUuODE1MDFDNS44MzYxNCA1LjkzMzM5IDUuNjcxNjYgNiA1LjUwMDA2IDZaIiBmaWxsPSIjNzA3MDcwIi8+Cjwvc3ZnPgo=" alt="" class="app-icon icon arrow-down" data-v-d2c09870 data-v-63dfaf6e><span class="text" data-v-63dfaf6e>Show author details </span> </a></div></div> <hr aria-hidden="true" class="separator default" data-v-7036083a data-v-99f6eb26> <dl id="authors-details" class="authors-details collapse" data-v-2edb8da6 data-v-99f6eb26><div data-test-author="Aghi Bahi" class="row author" data-v-2edb8da6><dt class="col-12 col-sm-2 title" data-v-2edb8da6>Aghi Bahi</dt> <dd class="col content d-inline d-sm-flex" data-v-2edb8da6><span class="content__title" data-v-2edb8da6>Affiliation:</span> <div class="d-sm-flex flex-column flex-sm-1 d-inline" data-v-2edb8da6><span data-v-2edb8da6><span data-v-2edb8da6>Université Félix Houphouët-Boigny</span> </span></div></dd></div>  <hr aria-hidden="true" class="separator default" data-v-7036083a data-v-2edb8da6></dl></div> <div class="row summary" data-v-534a4f5b><div id="sec0" class="col sec summary col" data-v-534a4f5b><h2>Summary</h2> <div>Modern popular music is closely linked to the 'traditional' heritage – intangible and material – of which artist-musicians have, in a way, usufruct. This Element examines the relationship between (cultural) heritage and the transformation of popular music in Côte d'Ivoire. It views heritage from a dynamic and innovative perspective as a constantly evolving reality, informed by a multitude of encounters, both local and global. It frees itself from the sectoralization and disciplinary impermeability of the sector – in places of music performance to understand how the artistic-musical heritage is transmitted, imagined and managed and the complex process of transformation of popular music in which it registers. It appears that heritage, far from being frozen in time, is rather activated, deactivated and reactivated according to the creative imagination. In addition, the work highlights a minor aspect of the heritage subsumed in popular intellectuality at work in popular music.</div></div></div></div> <div id="app-tabs" class="tabs" data-v-1d90c6ce data-v-9124f604><div id="app-tabs-wrapper" class="tabs__wrapper" data-v-1d90c6ce><div role="navigation" aria-label="tab navigation" class="container" data-v-1d90c6ce><a data-toggle="collapse" href="#appTabs" role="button" aria-expanded="false" aria-controls="appTabs" class="tabs__collapse collapsed d-sm-none d-print-none" data-v-1d90c6ce><span data-v-1d90c6ce></span> <span class="tabs-arrow-up" data-v-1d90c6ce></span> <span class="tabs-arrow-down" data-v-1d90c6ce></span></a> <ul id="appTabs" role="tablist" class="nav nav-tabs tabs__list collapse show" data-v-1d90c6ce><li role="none" class="tabs__tab" data-v-1d90c6ce><a aria-selected="true" href="#element-tab" role="tab" aria-controls="element-tab" tabindex="-1" class="active" data-v-1d90c6ce>Element </a></li><li role="none" class="tabs__tab" data-v-1d90c6ce><a href="#metrics-tab" role="tab" aria-controls="metrics-tab" tabindex="-1" data-v-1d90c6ce>Metrics </a></li></ul></div></div> <div tabindex="0" role="region" aria-label="Tab content" class="tab-content" data-v-1d90c6ce><div id="element-tab" class="tab-pane active" data-v-c1a1a908><div id="toc-mobile" class="table-of-content-mobile d-sm-none" data-v-c1a1a908><a data-toggle="collapse" href="#toc-list-mobile" role="button" aria-expanded="false" class="toc-collapse-switch collapsed"><span class="default-heading">Element contents</span>  <span class="toc-arrow-up"></span> <span class="toc-arrow-down"></span></a> <ul id="toc-list-mobile" class="list collapse"><li class="list__item"><a href="#sec0" class="list__item__link"><span class="toc-title">Summary</span></a></li> <li class="list__item"><a href="#A-sec-4" class="list__item__link"> <span>Introduction</span></a></li><li class="list__item"><a href="#B-sec-1" class="list__item__link"> <span>Popular Music and Heritage</span></a></li><li class="list__item"><a href="#B-sec-2" class="list__item__link"> <span>Heritage at Risk?</span></a></li><li class="list__item"><a href="#B-sec-3" class="list__item__link"> <span>Rethinking Heritage</span></a></li><li class="list__item"><a href="#B-sec-4" class="list__item__link"> <span>The Authentic Place of Heritage</span></a></li><li class="list__item"><a href="#B-sec-5" class="list__item__link"> <span>Methodological Note</span></a></li><li class="list__item"><a href="#B-sec-6" class="list__item__link"> <span>Outlines</span></a></li><li class="list__item"><a href="#A-sec-5" class="list__item__link"> <span>1 Popular Music in the Colony</span></a></li><li class="list__item"><a href="#A-sec-6" class="list__item__link"> <span>2 The Development of (and by) Popular Music</span></a></li><li class="list__item"><a href="#A-sec-7" class="list__item__link"> <span>3 The Musicscape of the Multiparty Years</span></a></li><li class="list__item"><a href="#A-sec-8" class="list__item__link"> <span>4 Poietics of Musical Art in Abidjan</span></a></li><li class="list__item"><a href="#A-sec-9" class="list__item__link"> <span>5 Tribality and Network Logic</span></a></li><li class="list__item"><a href="#A-sec-10" class="list__item__link"> <span>6 Music Creation and Technology</span></a></li><li class="list__item"><a href="#A-sec-11" class="list__item__link"> <span>7 Professionalisation or the Search for ‘Gombos’?</span></a></li><li class="list__item"><a href="#A-sec-12" class="list__item__link"> <span>8 Between Entertainment and Popular Intellectuality</span></a></li><li class="list__item"><a href="#EMT-bp-1" class="list__item__link"> <span>Critical Heritage Studies</span></a></li><li class="list__item"><a href="#EMT-bp-2" class="list__item__link"> <span>Critical Heritage Studies</span></a></li> <li class="list__item"><a href="#footnotes-list" class="list__item__link"><span class="toc-title">Footnotes</span></a></li> <li class="list__item"><a href="#references-list" class="list__item__link"><span class="toc-title">References</span></a></li></ul></div> <div class="action-bar" data-v-c1a1a908><div class="row items">  <div class="app-dropdown d-print-none" data-v-fab090b8 data-v-113567da data-v-c1a1a908><button aria-expanded="false" data-test-id="buttonSavePDFOptions" id="save-pdf-dropdown" class="app-button dropdown-menu-button app-button__text-icon app-button--secondary" data-v-2a038744 data-v-fab090b8><img src="/core/page-component/img/save-pdf-icon.080470e.svg" alt="" class="app-icon icon save-pdf" data-v-d2c09870 data-v-2a038744> <span class="text" data-v-2a038744>Save PDF</span></button> <div aria-labelledby="save-pdf-dropdown" class="app-dropdown__menu" style="display:none;" data-v-fab090b8><div class="pdf-buttons" data-v-fab090b8 data-v-113567da><a href="/core/services/aop-cambridge-core/content/view/E8A1EAEE4FB07A976F3F5BA276E6339C/9781009469180AR.pdf/heritage-and-transformation-of-an-african-popular-music.pdf" download="" role="link" class="app-link dropdown-item app-link__text-icon app-link--" data-v-63dfaf6e data-v-113567da><img src="/core/page-component/img/pdf-download-icon.c7fb40c.svg" alt="" class="app-icon icon pdf-download" data-v-d2c09870 data-v-63dfaf6e><span class="text" data-v-63dfaf6e>Save PDF (2 mb) </span> </a> <a target="_blank" href="/core/services/aop-cambridge-core/content/view/E8A1EAEE4FB07A976F3F5BA276E6339C/9781009469180AR.pdf/heritage-and-transformation-of-an-african-popular-music.pdf" role="link" class="app-link dropdown-item app-link__text-icon app-link--" data-v-63dfaf6e data-v-113567da><img src="/core/page-component/img/pdf-download-icon.c7fb40c.svg" alt="" class="app-icon icon pdf-download" data-v-d2c09870 data-v-63dfaf6e><span class="text" data-v-63dfaf6e>View PDF </span> <span class="sr-only" data-v-63dfaf6e>[Opens in a new window]</span></a>   <button aria-expanded="false" data-reveal-id="dropboxModal" role="button" class="app-button dropdown-item app-button__text-icon app-button--" data-v-2a038744 data-v-113567da><img src="/core/page-component/img/dropbox-icon.3d57046.svg" alt="" class="app-icon icon dropbox" data-v-d2c09870 data-v-2a038744> <span class="text" data-v-2a038744>Save to Dropbox</span></button> <button aria-expanded="false" data-reveal-id="googleDriveModal" role="button" class="app-button dropdown-item app-button__text-icon app-button--" data-v-2a038744 data-v-113567da><img src="/core/page-component/img/google-drive-icon.a50193b.svg" alt="" class="app-icon icon google-drive" data-v-d2c09870 data-v-2a038744> <span class="text" data-v-2a038744>Save to Google Drive</span></button> <button aria-expanded="false" data-reveal-id="kindleModal" data-location="landingPage" role="button" class="app-button dropdown-item app-button__text-icon app-button--" data-v-2a038744 data-v-113567da><img src="data:image/svg+xml;base64,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" alt="" class="app-icon icon kindle" data-v-d2c09870 data-v-2a038744> <span class="text" data-v-2a038744>Save to Kindle</span></button> </div> <button aria-label="Close Save PDF dropdown" aria-expanded="false" class="app-button close-icon app-button__icon app-button--" data-v-2a038744 data-v-fab090b8><img src="/core/page-component/img/close-icon.194b28a.svg" alt="" class="app-icon icon close" data-v-d2c09870 data-v-2a038744> </button></div></div> <div class="app-dropdown d-print-none share-dropdown" data-v-fab090b8 data-v-beffd87c data-v-c1a1a908><button aria-expanded="false" data-test-id="buttonShareOptions" id="share-dropdown" class="app-button dropdown-menu-button app-button__text-icon app-button--secondary" data-v-2a038744 data-v-fab090b8><img src="/core/page-component/img/share-icon.cbcfad8.svg" alt="" class="app-icon icon share" data-v-d2c09870 data-v-2a038744> <span class="text" data-v-2a038744>Share</span></button> <div aria-labelledby="share-dropdown" class="app-dropdown__menu" style="display:none;" data-v-fab090b8><div aria-labelledby="dropdown-share-button" data-v-fab090b8 data-v-beffd87c> <div class="social-share-container" data-v-fab090b8 data-v-beffd87c></div></div> <button aria-label="Close Share dropdown" aria-expanded="false" class="app-button close-icon app-button__icon app-button--" data-v-2a038744 data-v-fab090b8><img src="/core/page-component/img/close-icon.194b28a.svg" alt="" class="app-icon icon close" data-v-d2c09870 data-v-2a038744> </button></div></div> <button aria-expanded="false" data-test-id="buttonCiteOptions" data-prod-id="E8A1EAEE4FB07A976F3F5BA276E6339C" data-toggle="modal" href="#cite-modal" class="app-button cite-button d-print-none app-button__text-icon app-button--secondary export-citation-product" data-v-2a038744 data-v-2ce5f61d data-v-c1a1a908><img src="/core/page-component/img/cite-icon.44eaaa4.svg" alt="" class="app-icon icon cite" data-v-d2c09870 data-v-2a038744> <span class="text" data-v-2a038744>Cite</span></button> </div> <hr aria-hidden="true" class="separator default" data-v-7036083a></div> <div data-spy="scroll" data-target="#toc" class="scrollspy-content" data-v-c1a1a908><div class="keywords" data-v-86c27100 data-v-c1a1a908><h2 data-v-86c27100>Keywords</h2> <div class="row keywords__pills" data-v-86c27100><a href="/core/search?filters[keywords]=heritage" data-v-f0b31360 data-v-86c27100><span data-v-f0b31360 data-v-86c27100>heritage</span></a><a href="/core/search?filters[keywords]=modernity" data-v-f0b31360 data-v-86c27100><span data-v-f0b31360 data-v-86c27100>modernity</span></a><a href="/core/search?filters[keywords]=popular music" data-v-f0b31360 data-v-86c27100><span data-v-f0b31360 data-v-86c27100>popular music</span></a><a href="/core/search?filters[keywords]=traditions" data-v-f0b31360 data-v-86c27100><span data-v-f0b31360 data-v-86c27100>traditions</span></a><a href="/core/search?filters[keywords]=popular culture" data-v-f0b31360 data-v-86c27100><span data-v-f0b31360 data-v-86c27100>popular culture</span></a></div> <hr aria-hidden="true" class="separator default" data-v-7036083a data-v-86c27100></div> <dl class="element-details" data-v-15c6c562 data-v-c1a1a908><div class="row" data-v-15c6c562><dt class="col-12 col-sm-3 col-md-2_5 title" data-v-15c6c562> Type </dt> <dd class="col content" data-v-15c6c562> Element </dd></div> <div class="row" data-v-15c6c562><dt class="col-12 col-sm-3 col-md-2_5 title" data-v-15c6c562> Information </dt> <dd class="col content" data-v-15c6c562><div class="content__element" data-v-15c6c562><span data-v-15c6c562>Series: <a href="/core/publications/elements/critical-heritage-studie" class="app-link app-link__text app-link--accent" data-v-63dfaf6e data-v-15c6c562><span class="text" data-v-63dfaf6e>Elements in Critical Heritage Studies </span> </a></span></div> <div class="doi-data" data-v-15c6c562><div data-v-15c6c562>DOI: <a target="_blank" href="https://doi.org/10.1017/9781009469159" class="app-link app-link__text app-link--accent" data-v-63dfaf6e data-v-15c6c562><span class="text" data-v-63dfaf6e>https://doi.org/10.1017/9781009469159 </span> <span class="sr-only" data-v-63dfaf6e>[Opens in a new window]</span></a></div></div> <div data-v-15c6c562><span data-v-15c6c562>Online ISBN: 9781009469159</span></div> <div data-v-15c6c562><span data-v-15c6c562>Publisher: Cambridge University Press</span></div> <div data-v-15c6c562><span data-v-15c6c562>Print publication: <span class="app-date" data-v-d415a782 data-v-15c6c562> 12 December 2024 </span></span></div></dd></div>  </dl>  <div id="content-container" class="content-container" data-v-c1a1a908><div class="content-box"><div class="html-view"><article class="book elements BITS"><div class="book-body"><div class="book-part chapter" id="CT-bp-1" data-magellan-destination="CT-bp-1"><div class="body"><div class="sec" id="A-sec-3" data-magellan-destination="A-sec-3"><div class="disp-quote epigraph"><p class="p">‘The strength of the baobab lies in its roots.’</p><div class="attrib">– An African proverb</div></div></div><div class="sec" id="A-sec-4" data-magellan-destination="A-sec-4"><h3 class="A title"> Introduction </h3><p class="p">In this Element, the question of heritage is explored from the vantage point of popular music in Côte d’Ivoire and, by extension or extrapolation, in Africa (see the following section). Côte d’Ivoire serves as a case study for a more productive approach to the question of heritage. The idea is simple: true African heritage is less a matter of <em class="italic">groove</em> than of popular intellectuality. This is where the authentic heritage of musical art in motion lies.</p><div class="sec" id="B-sec-1" data-magellan-destination="B-sec-1"><h4 class="B title"> Popular Music and Heritage </h4><p class="p">Inheritance, here understood as what we have from predecessors, previous generations, and ancestors, in terms of character, ideology and so on (Larousse), implies ‘cultural heritage’ and appears as a synonym for ‘tradition’. It then refers to (i) the set of legends, facts, doctrines, opinions, customs, usages and so on, transmitted orally over a long period of time; (ii) the ways of acting or thinking transmitted for generations within a group – denoted by the synonyms custom, practice, rite or usage. The concept of heritage is controversial, and what constitutes it is often contentious because of a reductive, Eurocentric legacy focused on the materiality that dominates thinking (Segobye <a class="xref bibr" href="#REFe-r-189" data-sectionId="#REFe-r-189"><span class="show-for-sr">Reference Segobye, Mazondé and Thomas</span>2007</a>:79). Legacy can relate to both the tangible and the intangible, including ‘intangible things such as ideas, or systems of knowledge’ held and transmitted by various means from generation to generation, and in particular popular music.</p><p class="p">In Africa, popular music is a kind of ‘unifying syncretic framework’ (Waterman <a class="xref bibr" href="#REFe-r-213" data-sectionId="#REFe-r-213"><span class="show-for-sr">Reference Waterman</span>1990</a>:376) that refers both to ‘traditional’, ‘ethnic’, ‘people’s’ music, as well as to musical forms that are enjoyed or consumed by the population (Agawu <a class="xref bibr" href="#REFe-r-003" data-sectionId="#REFe-r-003"><span class="show-for-sr">Reference Agawu</span>2016</a>). The term popular refers to the realm of the culture of the oppressed and excluded classes (Hall <a class="xref bibr" href="#REFe-r-095" data-sectionId="#REFe-r-095"><span class="show-for-sr">Reference Hall and Cervulle</span>2007</a>:77). In the field of arts and culture, specifically music, the notion of ‘popular’ is very broad, complex and rich, covering endogenous forms that continue to circulate but are not always visible. The field of popular music is broader than that restricted by the dominant conception of market exploitation. The dominant, even hegemonic idea of popular music is defined in dichotomous (or even contradictory) terms with respect to the music of the cultivated and/or westernised elite. Ivorian popular music has a relatively long history, and today’s musicians are its heirs. The current world of ‘postmodernity’ (which thinks of itself as its own origin), with its linear conception of time, denies heritage (Paturet <a class="xref bibr" href="#REFe-r-165" data-sectionId="#REFe-r-165"><span class="show-for-sr">Reference Paturet</span>2007</a>; Lyotard <a class="xref bibr" href="#REFe-r-127" data-sectionId="#REFe-r-127"><span class="show-for-sr">Reference Lyotard</span>1979</a>), as if the past were inevitably doomed to archaicness or tradition to immobility.</p><p class="p"><span class="page-marker"></span>The global circulation of contemporary modern music (in all its forms) is such that it can be considered ‘stateless’ (Warnier <a class="xref bibr" href="#REFe-r-211" data-sectionId="#REFe-r-211"><span class="show-for-sr">Reference Warnier</span>2007</a>:3). It is therefore very difficult to locate modern popular music within the confines of the nation-state. However, the term is retained for practical reasons of feasibility. Moreover, music, like the cultures in which it is embedded, is ‘singular, extraordinarily diverse and localised’ (Warnier <a class="xref bibr" href="#REFe-r-211" data-sectionId="#REFe-r-211"><span class="show-for-sr">Reference Warnier</span>2007</a>:7). ‘Popular’ music is (therefore) (already) a mixture of diverse traditions and logics that remains open to continual enrichment. Today’s dominant popular music is (therefore) only a reduced aspect of the ontological reality of popular music. The conception of modern popular music used in our approach and referred to here is a much more ‘complete’ version than the dominant (and hegemonic) one. Rather, it is understood as a version at the intersection of the popular (as defined earlier) and the market (Waterman <a class="xref bibr" href="#REFe-r-213" data-sectionId="#REFe-r-213"><span class="show-for-sr">Reference Waterman</span>1990</a>).</p><p class="p">Popular music in Côte d’Ivoire is the subject of growing interest, but scientific production is having difficulty meeting the demand for knowledge in this fast-moving field. Some works, which tend to be journalistic, provide testimonial data on musicians and performance venues, offer anecdotes and confidences from artists, and shed light on their civic and political commitments in the light of their personal histories (Briard <a class="xref bibr" href="#REFe-r-045" data-sectionId="#REFe-r-045"><span class="show-for-sr">Reference Briard</span>2008</a>; Babi <a class="xref bibr" href="#REFe-r-013" data-sectionId="#REFe-r-013"><span class="show-for-sr">Reference Babi</span>2010</a>; Koffi et al. <a class="xref bibr" href="#REFe-r-108" data-sectionId="#REFe-r-108"><span class="show-for-sr">Reference Koffi, Kipré and N’Ko</span>2022</a>). The dominant trend in scholarly works is to focus on one genre (or even one style) or on one artist embodying one genre or another, while at the same time paying homage to these icons of urban popular music. Specific works – on Dan music (Zemp <a class="xref bibr" href="#REFe-r-225" data-sectionId="#REFe-r-225"><span class="show-for-sr">Reference Zemp</span>1971[2012]</a>), the <em class="italic">tohourou bété</em> (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>, <a class="xref bibr" href="#REFe-r-219" data-sectionId="#REFe-r-219"><span class="show-for-sr">Reference Wondji and Wondji</span>1986b</a>; Séry <a class="xref bibr" href="#REFe-r-190" data-sectionId="#REFe-r-190"><span class="show-for-sr">Reference Séry</span>2015</a>) or the didactics of music teaching (Goran <a class="xref bibr" href="#REFe-r-091" data-sectionId="#REFe-r-091"><span class="show-for-sr">Reference Goran</span>2011</a>) – do exist and act as pioneers.</p><p class="p">However, the strong tendency towards sectorisation and disciplinary watertightness means that most of the exegeses of the songs are contextualised as an introduction to the political sociology and recent history of Côte d’Ivoire. <em class="italic">Reggae</em>, for example, through its most prominent West African figures, Alpha Blondy and Tiken Jah Fakoly, has been approached from the point of view of the thoughts they convey and the effects these have on the future of the country and even the continent (Konaté <a class="xref bibr" href="#REFe-r-111" data-sectionId="#REFe-r-111"><span class="show-for-sr">Reference Konaté</span>1987</a>; Briard <a class="xref bibr" href="#REFe-r-045" data-sectionId="#REFe-r-045"><span class="show-for-sr">Reference Briard</span>2008</a>; Brou <a class="xref bibr" href="#REFe-r-046" data-sectionId="#REFe-r-046"><span class="show-for-sr">Reference Brou</span>2018a</a>, <a class="xref bibr" href="#REFe-r-047" data-sectionId="#REFe-r-047"><span class="show-for-sr">Reference Brou</span>2018b</a>; Koffi et al. <a class="xref bibr" href="#REFe-r-108" data-sectionId="#REFe-r-108"><span class="show-for-sr">Reference Koffi, Kipré and N’Ko</span>2022</a>). The <em class="italic">zouglou</em> musical genre, the visible face of social and political demands, has been the subject of a multi-biographical approach to the famous group Magic System (Vergès <a class="xref bibr" href="#REFe-r-210" data-sectionId="#REFe-r-210"><span class="show-for-sr">Reference Vergès</span>2018</a>), or, with the Yodé and Siro affair, from the angle of its tumultuous relationship with political power (Bahi <a class="xref bibr" href="#REFe-r-015" data-sectionId="#REFe-r-015"><span class="show-for-sr">Reference Bahi</span>2021</a>; Kadi <a class="xref bibr" href="#REFe-r-102" data-sectionId="#REFe-r-102"><span class="show-for-sr">Reference Kadi</span>2021</a>). The analysis of the rise of the <em class="italic">coupé décalé</em>, an urban music genre characteristic of the 2000s (Kolé <a class="xref bibr" href="#REFe-r-109" data-sectionId="#REFe-r-109"><span class="show-for-sr">Reference Kolé</span>2023</a>), focuses in particular on Douk Saga and DJ Arafat, emblematic figures of the genre (Boka <a class="xref bibr" href="#REFe-r-039" data-sectionId="#REFe-r-039"><span class="show-for-sr">Reference Boka</span>2013</a>; Guébo <a class="xref bibr" href="#REFe-r-094" data-sectionId="#REFe-r-094"><span class="show-for-sr">Reference Guébo</span>2022</a>). The introduction of <em class="italic">pop music</em> in Côte d’Ivoire, its reception and the development of <span class="page-marker"></span>its local variant complete the panorama (Djédjé <a class="xref bibr" href="#REFe-r-064" data-sectionId="#REFe-r-064"><span class="show-for-sr">Reference Djédjé</span>2020</a>). Most of the time, therefore, these local works focus on a particular musical genre (or style), or a particular artist (modern or traditional), from a certain period or currently in vogue, creating magnifying glass effects and ipso facto obliterating the possibility of a global grasp of the phenomenon.</p></div><div class="sec" id="B-sec-2" data-magellan-destination="B-sec-2"><h4 class="B title"> Heritage at Risk? </h4><p class="p">More general work was begun in the 1980s (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>, <a class="xref bibr" href="#REFe-r-219" data-sectionId="#REFe-r-219"><span class="show-for-sr">Reference Wondji and Wondji</span>1986b</a>; Konaté <a class="xref bibr" href="#REFe-r-111" data-sectionId="#REFe-r-111"><span class="show-for-sr">Reference Konaté</span>1987</a>). They approach the various genres (and styles) of Ivorian popular music in the same phenomenal way. The issues of immediate sociopolitical change in Côte d’Ivoire, closely linked to the armed rebellion of <a class="xref bibr" href="#REFe-r-110" data-sectionId="#REFe-r-110"><span class="show-for-sr">Reference Konaté</span>2002</a> and the electoral crisis of 2010 that led to the tragic events we know about (Fié Doh <a class="xref bibr" href="#REFe-r-076" data-sectionId="#REFe-r-076"><span class="show-for-sr">Reference Fié Doh</span>2012</a>), are bringing popular music into conversation with political ‘conscientisation’ (Bahi <a class="xref bibr" href="#REFe-r-015" data-sectionId="#REFe-r-015"><span class="show-for-sr">Reference Bahi</span>2021</a>). The question of cultural heritage and the mutations of popular music timidly appears from the angle of the impending disappearance of the <em class="italic">tohourou</em> genre under the impact of Western culture (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>, <a class="xref bibr" href="#REFe-r-219" data-sectionId="#REFe-r-219"><span class="show-for-sr">Reference Wondji and Wondji</span>1986b</a>; Séry <a class="xref bibr" href="#REFe-r-190" data-sectionId="#REFe-r-190"><span class="show-for-sr">Reference Séry</span>2015</a>). Inheritance/heritage is treated from the perspective of destruction, if not imminent then at least imminent in line with the spirit animating certain literary and ethnological studies of the twentieth century, and with a conservatory aim, clinging to a melancholy reminiscence of the past (Wondji 1986a, 1986b; Babi <a class="xref bibr" href="#REFe-r-013" data-sectionId="#REFe-r-013"><span class="show-for-sr">Reference Babi</span>2010</a>; Séry <a class="xref bibr" href="#REFe-r-190" data-sectionId="#REFe-r-190"><span class="show-for-sr">Reference Séry</span>2015</a>). In the background, culture, conceived as a fixed entity, is under attack from Western culture and is in danger of disappearing.</p><p class="p">Inheritance seems commonly (implicitly) conceived as an anonymous thing of the past or even of tradition, relatively stationary, transmissible to its legitimate heirs without alteration or modification, thus inducing a relatively rigid posture (e.g. Kebede <a class="xref bibr" href="#REFe-r-104" data-sectionId="#REFe-r-104"><span class="show-for-sr">Reference Kebede</span>1982</a>; Olaniyan <a class="xref bibr" href="#REFe-r-157" data-sectionId="#REFe-r-157"><span class="show-for-sr">Reference Olaniyan</span>2004</a>; Agawu <a class="xref bibr" href="#REFe-r-003" data-sectionId="#REFe-r-003"><span class="show-for-sr">Reference Agawu</span>2016</a>). The question of inheritance is linked to those of heritage preservation, (cultural) identity and authenticity/originality. African composers, in a process of innovation attempting to set themselves apart from Western or Euro-American artistic flows, use ‘the materials of their indigenous musical traditions’ and would give priority ‘to the propagation and enhancement of its heritage rather than to musical originality’ (Kebede <a class="xref bibr" href="#REFe-r-104" data-sectionId="#REFe-r-104"><span class="show-for-sr">Reference Kebede</span>1982</a>:118).</p><p class="p">The preservation of an artistic heritage cannot be reduced to its stereotypical reproduction (Waterman <a class="xref bibr" href="#REFe-r-213" data-sectionId="#REFe-r-213"><span class="show-for-sr">Reference Waterman</span>1990</a>:377). The use of ‘traditional’ musical instruments cannot in itself establish the authenticity of a musical work. ‘Authentic’ music does not reside exclusively in Indigenous forms. Heritage can be manipulated according to whether the conception of identity is narrow or broad, closed or open. Authenticity, which is always relative, limited and dependent on the outside world, ultimately translates into a ‘cosmopolitan <span class="page-marker"></span>nativism’ (Olaniyan <a class="xref bibr" href="#REFe-r-157" data-sectionId="#REFe-r-157"><span class="show-for-sr">Reference Olaniyan</span>2004</a>), which is not folded into an Indigenous ancestrality, but is open to intentional and egalitarian hybridisation. In resistance to domination, it also appears as ‘a powerful stimulant and rallying cry [for identity]’ (Olaniyan <a class="xref bibr" href="#REFe-r-157" data-sectionId="#REFe-r-157"><span class="show-for-sr">Reference Olaniyan</span>2004</a>:165). The African ‘past’ and its traditions, the ancestral heritage, thus appear to be both a site of polemic and a source of replenishment, ‘a potential capital for improvement’ (Olaniyan <a class="xref bibr" href="#REFe-r-157" data-sectionId="#REFe-r-157"><span class="show-for-sr">Reference Olaniyan</span>2004</a>:158–159). The African composer’s artistic heritage is said to have three origins: (i) the various Indigenous traditions, including rumba and its offshoots; (ii) Europe, distilled through religious and military music; and (iii) the Western avant-garde (Agawu <a class="xref bibr" href="#REFe-r-003" data-sectionId="#REFe-r-003"><span class="show-for-sr">Reference Agawu</span>2016</a>).</p><p class="p">Modern popular music, in its marketing version, ‘absorbs’ the ‘traditional’ (or so-called traditional music), the ‘ethnic’, and claims its originality on this basis, in order to gain visibility and an audience. So it is not a question of relying on a divide between ‘elite music’ and ‘popular music’, or on a ‘rupture’ between ‘traditional’ and ‘modern’, but rather on grasping the places of exchange and conversation, of complementarity between these polarities (Waterman <a class="xref bibr" href="#REFe-r-213" data-sectionId="#REFe-r-213"><span class="show-for-sr">Reference Waterman</span>1990</a>; Olaniyan <a class="xref bibr" href="#REFe-r-157" data-sectionId="#REFe-r-157"><span class="show-for-sr">Reference Olaniyan</span>2004</a>). How can we understand and show how musics enrich each other? How does modern popular music draw on this fund (which itself is not static)? How, in return, does ‘traditional’ (‘ethnic’) music ‘survive’, change and adapt to the new situation?</p></div><div class="sec" id="B-sec-3" data-magellan-destination="B-sec-3"><h4 class="B title"> Rethinking Heritage </h4><p class="p">Beyond the relatively rigid posture of an immutable past (Kebede <a class="xref bibr" href="#REFe-r-104" data-sectionId="#REFe-r-104"><span class="show-for-sr">Reference Kebede</span>1982</a>; Agawu <a class="xref bibr" href="#REFe-r-003" data-sectionId="#REFe-r-003"><span class="show-for-sr">Reference Agawu</span>2016</a>), we can in fact, more productively, think of heritage in a more dynamic and fertile conception. This question of heritage can be approached by attempting to articulate historical, ethnographic and anthropological approaches under the influence of (British) <em class="italic">cultural studies</em>, while benefiting from the renewal of musicology (e.g. Waterman <a class="xref bibr" href="#REFe-r-213" data-sectionId="#REFe-r-213"><span class="show-for-sr">Reference Waterman</span>1990</a>; Olaniyan <a class="xref bibr" href="#REFe-r-157" data-sectionId="#REFe-r-157"><span class="show-for-sr">Reference Olaniyan</span>2004</a>; Agawu <a class="xref bibr" href="#REFe-r-003" data-sectionId="#REFe-r-003"><span class="show-for-sr">Reference Agawu</span>2016</a>). In fact, traditional and modern are part of a relationship of continuity and are intertwined (Waterman <a class="xref bibr" href="#REFe-r-213" data-sectionId="#REFe-r-213"><span class="show-for-sr">Reference Waterman</span>1990</a>:368). Artistic and musical creation does not happen ex nihilo. It is necessarily engaged in inter-musical relations, particularly with precursors, ‘whether in affirmation or dissent, actively or passively, consciously or unconsciously’ (Agawu <a class="xref bibr" href="#REFe-r-003" data-sectionId="#REFe-r-003"><span class="show-for-sr">Reference Agawu</span>2016</a>:315). Fundamentally, the musical composer, in exercising his artistic freedom of thought, navigates between aesthetic canons to be respected and transgressions – an exercise in unstable equilibrium without which musical art ultimately does not exist and thanks to which the unexpected happens.</p><p class="p">Heritage is seen as a constantly evolving reality, informed by a multitude of encounters, both local and global. It is constantly negotiated in the present and <span class="page-marker"></span>in the future. Its ethnographic present is part of a kind of ongoing past. The heritage is not (un)past, it is not in rupture. By freeing ourselves from a linear conception of time, we can say: ‘Inheritance comes to us from the depths of our future’ (Paturet <a class="xref bibr" href="#REFe-r-165" data-sectionId="#REFe-r-165"><span class="show-for-sr">Reference Paturet</span>2007</a>:25), because the heirs also have the task of giving consistency to the outline that has been passed on to them, of taking charge of the inheritance and extending the gesture: ‘Inheriting is therefore not about “breaking away” from the “past”, but on the contrary about “becoming part of the chain of history” and “taking charge” of the values transmitted, by constituting oneself as the inventor or creator’ (Paturet <a class="xref bibr" href="#REFe-r-165" data-sectionId="#REFe-r-165"><span class="show-for-sr">Reference Paturet</span>2007</a>:26).</p><p class="p">Heritage does not obstruct the possibility of invention or innovation, quite the contrary. Rather than a radical break between ‘traditional’ music and modern popular music, I defend the thesis of a cultural heritage inscribed in a continuity between these two artistic expressions: modern popular music is closely linked to the ‘traditional’ heritage (immaterial and material) of which the artist-musicians have a sort of usufruct. There is a continuity from ‘traditional music’ to modern popular music, which is certainly a legacy. Music is also part of the intangible heritage (Rowlands <a class="xref bibr" href="#REFe-r-181" data-sectionId="#REFe-r-181"><span class="show-for-sr">Reference Rowlands</span>2008</a>) and even of the ‘places’ of sound memory (Agawu <a class="xref bibr" href="#REFe-r-003" data-sectionId="#REFe-r-003"><span class="show-for-sr">Reference Agawu</span>2016</a>:4). The past lives in the present, says Maurice Godelier (<a class="xref bibr" href="#REFe-r-086" data-sectionId="#REFe-r-086"><span class="show-for-sr">Reference Godelier</span>2015</a>). It could even be said that the present draws on the past to innovate … The past is therefore not a subject of ‘archaism’ but rather a place of resourcing (Waterman <a class="xref bibr" href="#REFe-r-213" data-sectionId="#REFe-r-213"><span class="show-for-sr">Reference Waterman</span>1990</a>).</p><p class="p">Inheritance is not frozen in time. It is activated, deactivated and reactivated at the whim of the creative imagination. This imagination also follows the paths of cannibalism. The practice of cannibalism is an insidious part of everyday life and social processes (Nyamnjoh <a class="xref bibr" href="#REFe-r-153" data-sectionId="#REFe-r-153"><span class="show-for-sr">Reference Nyamnjoh and Francis</span>2018</a>:5). The human being, fundamentally incomplete, is inscribed in relationships of cannibalistic reciprocity with the other (Nyamnjoh <a class="xref bibr" href="#REFe-r-153" data-sectionId="#REFe-r-153"><span class="show-for-sr">Reference Nyamnjoh and Francis</span>2018</a>). The creative imagination, in order to innovate and/or be authentic, original, and so on, can take the form of ‘a productive, invigorating and crucial form of cannibalism’ (Nyamnjoh <a class="xref bibr" href="#REFe-r-153" data-sectionId="#REFe-r-153"><span class="show-for-sr">Reference Nyamnjoh and Francis</span>2018</a>:10). This artistic-musical cannibalism is reflected in the various cover versions, remixes, and so on, that have been made. The ‘tradi-moderne’, a form of cannibalisation of the ‘traditional’, represents this continuity between the traditional and the modern while cornering its market. The question of musical heritage is also linked to that of copyright in ‘traditional’ musical heritage or materials derived from traditional musical heritage (Barber <a class="xref bibr" href="#REFe-r-027" data-sectionId="#REFe-r-027"><span class="show-for-sr">Reference Barber, Röschenthaler and Diawarra</span>2015</a>). The problem of the use of traditional materials in popular (or learned) musical compositions is becoming increasingly acute.</p></div><div class="sec" id="B-sec-4" data-magellan-destination="B-sec-4"><h4 class="B title"> The Authentic Place of Heritage </h4><p class="p">The heritage lies as much in the (popular) intellectuality conveyed by the music as in the traditional materials that can be freely plundered. The often paradoxical <span class="page-marker"></span>popular intellectuality of musical artists is symptomatic of the aporias of the post-colonial African state and of cultural production in post-coloniality. This produces a complex subject, subject to an exotic (imported), inauthentic, accessory or optional symbolic economy, generally perceived as subornation, limiting our autonomy (Olaniyan <a class="xref bibr" href="#REFe-r-157" data-sectionId="#REFe-r-157"><span class="show-for-sr">Reference Olaniyan</span>2004</a>:165). But by revisiting (and recycling) these traditional materials, a genuine source of originality, modern popular music reveals, preserves and (re)brings to life the musical heritage in cannibalistic fashion. In the artistic and musical world, the custodians of vulnerable tradition are being cannibalised in the face of neoliberal modernisation characterised by industrialisation, commodification, consumerism, globalisation and trivialisation (Nyamnjoh <a class="xref bibr" href="#REFe-r-153" data-sectionId="#REFe-r-153"><span class="show-for-sr">Reference Nyamnjoh and Francis</span>2018</a>:2–3). Traditional precursor artist-musicians are thus ‘cannibalised’ without any acknowledgement of debt (Nyamnjoh <a class="xref bibr" href="#REFe-r-153" data-sectionId="#REFe-r-153"><span class="show-for-sr">Reference Nyamnjoh and Francis</span>2018</a>). ‘Tradition’ is thus the well that feeds ‘modernity’. ‘Modern’ creation draws from ‘traditions’ and is replenished by them in this symbolic cannibalism.</p><p class="p">Modern popular music is closely linked to the market (music marketing in this case) and to the mass media that ensure its visibility (Thomas & Nyamnjoh <a class="xref bibr" href="#REFe-r-196" data-sectionId="#REFe-r-196"><span class="show-for-sr">Reference Thomas, Nyamnjoh, Mazonde and Thomas</span>2007</a>; Diawarra <a class="xref bibr" href="#REFe-r-063" data-sectionId="#REFe-r-063"><span class="show-for-sr">Reference Diawarra, Röschenthaler and Diawarra</span>2015</a>). As an object of research, it is stretched between the local (in terms of situations and places) and the global (in terms of economic, political and social systems), between instances of musical production and instances of reception and effects of music (Rouzé <a class="xref bibr" href="#REFe-r-180" data-sectionId="#REFe-r-180"><span class="show-for-sr">Reference Rouzé</span>2004</a>:11). Even under colonial rule, the music of the colonised did not always conform to the exogenously generated logics of colonial power and capitalism. This is why, beyond the elite/people distinction, it is important to pay attention to the field generally referred to as traditional and endogenous music. The artist-musicians who have responded to the call of commercialism and the commodification of their works have tended (to draw inspiration from or) to borrow from various market musical traditions: ethnic, popular, elitist, colonial and Western. Artists also draw on popular music in their quest for creativity and originality. On the other hand, ‘ethnic’ and ‘traditional’ music continues to live on by borrowing from the dominant forms of music on the market. Today, popular music is a cultural commodity integrated into the market economy, particularly the globalised entertainment economy (Flichy <a class="xref bibr" href="#REFe-r-078" data-sectionId="#REFe-r-078"><span class="show-for-sr">Reference Flichy</span>1991</a>; Rouzé <a class="xref bibr" href="#REFe-r-180" data-sectionId="#REFe-r-180"><span class="show-for-sr">Reference Rouzé</span>2004</a>).</p></div><div class="sec" id="B-sec-5" data-magellan-destination="B-sec-5"><h4 class="B title"> Methodological Note </h4><p class="p">This Element is based on previous anthropological fieldwork, flirting with the anthropology of the city, and paying attention to cultural diversity in a comprehensive approach, in an attempt to grasp the meaning of the other by empathising with their experience and interpreting their intention or intentionality. It focuses specifically on modern popular music in Côte d’Ivoire, as a cultural <span class="page-marker"></span>institution. The question of heritage is examined through the logic and modalities of its production, its actors, its places of performance (rehearsal rooms, recording studios, etc.), and so on. The data come from a multi-site survey (by impregnation, in situ observation) of informants from the world of producers (creators, singers, arrangers, studio technicians, etc.) in their places of work, their frame of ordinary experience (Goffman <a class="xref bibr" href="#REFe-r-088" data-sectionId="#REFe-r-088"><span class="show-for-sr">Reference Goffman</span>1991</a>). In Abidjan (Côte d’Ivoire), this survey consisted of meeting musicians who were members of groups in training that <em class="italic">were</em> ideologically opposed, but which were similar in terms of their socioeconomic and working conditions: young musicians who tended to play <em class="italic">zouglou</em>, others who claimed to be <em class="italic">Rastas,</em> musicians who were labelled <em class="italic">jazz</em> but who moved happily from one musical style to another. These groups of young people are windows onto the elective communities or ‘tribes’ (Maffesoli <a class="xref bibr" href="#REFe-r-129" data-sectionId="#REFe-r-129"><span class="show-for-sr">Reference Maffesoli</span>1988</a>) that populate the music world and enliven the local musical scene. As far as possible, the deterritorialised view took in the various performance venues of the players and, at the same time, the critical venues of musical mediation. These are places of creation (young <em class="italic">zouglou</em>, <em class="italic">rasta</em> and <em class="italic">jazz</em> musicians, rehearsal rooms, etc.), places of production (studio, ‘producer’s’ office) and so on. The oral dimension is inevitably linked to the popular nature of this music. Admittedly, it is important to avoid the aporia of ‘graphocentrism’, so it should come as no surprise that there are no musical transcriptions in this Element. The work also necessitated a historiography based on a social history on the fringes of a (controversial) history of the present day: ‘that which is done with and under the control of witnesses, it is also that which can use their contribution to make up for the absence of scriptural sources and to constitute others that allow history to be written differently’ (Wolikow <a class="xref bibr" href="#REFe-r-217" data-sectionId="#REFe-r-217"><span class="show-for-sr">Reference Wolikow</span>1998</a>:14).</p></div><div class="sec" id="B-sec-6" data-magellan-destination="B-sec-6"><h4 class="B title"> Outlines </h4><p class="p">The Element is divided into eight sections. The first three deal with the rise of modern popular music in a kind of archaeology of recent history. This elementary historicisation has made it possible to contextualise contemporary Ivorian popular music. Localised music, in other places, in other (cultural) flows, comes, forms and mixes to create as much as possible these <em class="italic">mediascapes</em> or <em class="italic">ideoscapes</em> (Appadurai <a class="xref bibr" href="#REFe-r-007" data-sectionId="#REFe-r-007"><span class="show-for-sr">Reference Appadurai</span>2001</a>) – or, to push the same logic, <em class="italic">soundscapes</em> or even <em class="italic">musicscapes</em>, for purposes of contextualisation. The Element then turns to the poetics of contemporary urban musical art in Côte d’Ivoire. The following four sections examine this social phenomenon from the angle of its creation, performance, learning and ritualisation (its social functions), in its political, social and cultural <span class="page-marker"></span>contexts. Technology is important. It largely determines the production and inevitably the form and content of music. Here too, it is important to avoid the trap of ‘technologism’. Finally, popular music today is (much) more than technology. The <a class="xref sec" href="#A-sec-12" data-sectionId="#A-sec-12">final section</a> examines what constitutes the true meaning of the artistic-musical heritage: modern popular music is difficult to restrain. Deployed between entertainment and popular intellectuality, is it not the place of heritage par excellence?</p><p class="p">A brief history of the rise of Ivorian popular music can first be understood in the context of the peri-Atlantic circulation of people, ideas and objects. It is then written in the more localised context of such movements on the West African coast and in the colonies. In this way, the dominant or hegemonic urban musical forms were created and developed in the city, from colonisation to the twenty-first century. This history enables us to understand the profound consequences that the past has had on the recent form, content and direction of popular music. ‘We sit on the old mat to weave the new one’. The contemporary city preserves and reinforces these attributes. We will show how Ivorian popular music has become a (quasi-)cultural industry.</p></div></div><div class="sec" id="A-sec-5" data-magellan-destination="A-sec-5"><h3 class="A title"><span class="label">1</span> Popular Music in the Colony </h3><p class="p">During the colonial period, the music of Africans changed, ‘asserted itself and diversified’ (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>:14) through contact with the burgeoning city, the small proletariat that developed there, the youth associations and movements (Mignon <a class="xref bibr" href="#REFe-r-139" data-sectionId="#REFe-r-139"><span class="show-for-sr">Reference Mignon</span>1984</a>:68) active in working-class neighbourhoods, urban festivals, bar-dancings (Balandier <a class="xref bibr" href="#REFe-r-025" data-sectionId="#REFe-r-025"><span class="show-for-sr">Reference Balandier</span>1957</a>; Rouch <a class="xref bibr" href="#REFe-r-178" data-sectionId="#REFe-r-178"><span class="show-for-sr">Reference Rouch</span>1959</a>), thanks to the development and expansion of sound broadcasting (Tudesq <a class="xref bibr" href="#REFe-r-203" data-sectionId="#REFe-r-203"><span class="show-for-sr">Reference Tudesq</span>1998</a>) and above all the record industry and the gradual replacement of the gramophone by the electrophone and the tape recorder. The city in Côte d’Ivoire is a ‘product of colonisation’ (Zadi <a class="xref bibr" href="#REFe-r-221" data-sectionId="#REFe-r-221"><span class="show-for-sr">Reference Zadi</span>1990</a>:31), determining its population, morphology, physiognomy and sociology. The structuring of urban space between 1920 and 1930 was to have a lasting impact on the subsequent urbanisation of Côte d’Ivoire. The urban centre developed by the coloniser was the territorial framework around which new economic structures were organised and articulated (Kipré <a class="xref bibr" href="#REFe-r-107" data-sectionId="#REFe-r-107"><span class="show-for-sr">Reference Kipré</span>1975</a>:102–107).</p><p class="p"> Aimed at satisfying the needs of the metropolis, the economy of the colony of Côte d’Ivoire combined the pre-colonial cycles of production and trade with a trading economy characterised by the export of ‘very heavy raw products (wood, cocoa, palm oil and palm kernels in particular, but also kola); in return it received finished products whose weight was much less important than their price’ (Kipré <a class="xref bibr" href="#REFe-r-107" data-sectionId="#REFe-r-107"><span class="show-for-sr">Reference Kipré</span>1975</a>:100). The colonial context, which turned ancient African society upside down, was therefore a decisive turning point in the evolution and transformation of music. </p><div class="disp-quote"><p class="p"><span class="page-marker"></span>The colonial period was the time when African societies learned to live in cities. The initial difficulties in populating the city gave way to workers’ camps, designed for young men who had a job and were assumed to be single. The regrouping or formation of families then made it possible to rebalance and broaden the age pyramids at the base.</p><div class="attrib">(Piermay <a class="xref bibr" href="#REFe-r-167" data-sectionId="#REFe-r-167"><span class="show-for-sr">Reference Piermay</span>2003</a>:39)</div></div><p class="p">In the coastal towns in particular, dealing with European ships, ordinary social and cultural life was altered. These towns were ‘active markets for foodstuffs and imported consumer goods’ (Kipré <a class="xref bibr" href="#REFe-r-107" data-sectionId="#REFe-r-107"><span class="show-for-sr">Reference Kipré</span>1975</a>:116). After 1930, the small towns of Côte d’Ivoire had a heterogeneous African social environment made up of businessmen, landowners, traders, urban planters, large traders, civil servants and factory clerks. This sort of literate urban bourgeoisie was distinguished from the rest of the African population by its remuneration and civic status (Kipré <a class="xref bibr" href="#REFe-r-105" data-sectionId="#REFe-r-105"><span class="show-for-sr">Reference Kipré</span>1986</a>; Le Pape <a class="xref bibr" href="#REFe-r-123" data-sectionId="#REFe-r-123"><span class="show-for-sr">Reference Le Pape</span>1997</a>). This social milieu soon saw a mixture of native, non-native and non-Indigenous populations made up of employees, shopkeepers and craftsmen who quickly formed the small proletariat of the cities and who were the real inhabitants of the city, appropriating this space and organising its social and cultural life (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>:19).</p><p class="p">The city, its movement and circulation, brought about changes in forms of sociality, in systems of representation and in individual behaviour (Bibeau <a class="xref bibr" href="#REFe-r-037" data-sectionId="#REFe-r-037"><span class="show-for-sr">Reference Bibeau</span>1993</a>:254). These embryonic multi-ethnic cities mixed ethnic groups from within and outside the colony: ‘through maritime navigation and colonial routes, people and techniques moved, as did cultural and artistic modes’ (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>: 19). Music from elsewhere, from Europe, continental Africa and the diaspora, was heard and developed in the new cities. Musical practices in West and Southern Africa in the nineteenth century were already marked by exchanges and mixtures with those of Europe, the Caribbean and the Americas. Congolese rumba, which was to influence popular music in Côte d’Ivoire, was one of the fruits of these exchanges (see Doua <a class="xref bibr" href="#REFe-r-067" data-sectionId="#REFe-r-067"><span class="show-for-sr">Reference Doua</span>2020</a>:160).</p><p class="p">The city was a key venue for the dissemination of music from the African diaspora in the Americas, creating new, essentially crossbred musical forms which, by crossing ‘the Atlantic once again, but in the opposite direction, [contributed] to the genesis of new African popular music, which the Congo of the time had specialised in’ (Bonniol <a class="xref bibr" href="#REFe-r-040" data-sectionId="#REFe-r-040"><span class="show-for-sr">Reference Bonniol, Abou and Haddad</span>1999</a>:321). In short, ‘the city was a fertile cultural melting pot where different musical genres collided and interpenetrated’ (Meyran <a class="xref bibr" href="#REFe-r-138" data-sectionId="#REFe-r-138"><span class="show-for-sr">Reference Meyran</span>2014</a>:2).</p><p class="p">The bars and dance halls, mixing crowds and sounds, are undeniably important in the social life of the African city of its birth (Balandier <a class="xref bibr" href="#REFe-r-025" data-sectionId="#REFe-r-025"><span class="show-for-sr">Reference Balandier</span>1957</a>:283–284). The novel <em class="italic">Ville cruelle</em> (<em class="italic">Cruel City</em>) describes how, at nightfall, the hub of life shifts from the administrative centre to the outlying districts, constituting a ‘revenge’ of the Indigenous quarter on the European quarter (Eza Boto <a class="xref bibr" href="#REFe-r-073" data-sectionId="#REFe-r-073"><span class="show-for-sr">Reference Boto</span>1954[1971]</a>:23). The film <em class="italic">Moi un Noir</em> (<em class="italic">Me a Black</em>) (Rouch <a class="xref bibr" href="#REFe-r-178" data-sectionId="#REFe-r-178"><span class="show-for-sr">Reference Rouch</span>1959</a>) introduces <span class="page-marker"></span>us to the contrasting arcana of Abidjan, a ‘holiday town’ for Europeans at the end of the colonial period, showing the nightlife in Treichville and the bustling cultural scene. In bars such as <em class="italic">L’Etoile du sud</em>, <em class="italic">Le Tourlourou</em>, <em class="italic">L’Espérance</em> and <em class="italic">L’Oasis du désert</em>, Caribbean <em class="italic">cha cha</em> was fashionable and Congolese <em class="italic">rumba</em> was beginning to make inroads, performed by local orchestras. The modern popular music that emerged developed in an urban environment, on the outskirts of the city of the whites, in a phenomenon shared by the French colonies (Balandier <a class="xref bibr" href="#REFe-r-025" data-sectionId="#REFe-r-025"><span class="show-for-sr">Reference Balandier</span>1957</a>; Rouch <a class="xref bibr" href="#REFe-r-178" data-sectionId="#REFe-r-178"><span class="show-for-sr">Reference Rouch</span>1959</a>; Gondola <a class="xref bibr" href="#REFe-r-089" data-sectionId="#REFe-r-089"><span class="show-for-sr">Reference Gondola</span>2003</a>, <a class="xref bibr" href="#REFe-r-090" data-sectionId="#REFe-r-090"><span class="show-for-sr">Reference Gondola</span>1997</a>; Kouvouama <a class="xref bibr" href="#REFe-r-115" data-sectionId="#REFe-r-115"><span class="show-for-sr">Reference Kouvouama</span>2013</a>). In the colonial city, in fact, ‘popular song developed within the immigrant African communities that took charge of creating a specifically African urban culture’ (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>:19; see also Le Pape <a class="xref bibr" href="#REFe-r-123" data-sectionId="#REFe-r-123"><span class="show-for-sr">Reference Le Pape</span>1997</a>).</p><p class="p">In the city, [modern] popular song also developed ‘within the immigrant African communities who took charge of the creation of a specifically African urban culture’ (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>:19). Until the early 1950s, the secondary sector was still in its infancy, and the majority of the population had not broken with peasant life. Thus, there was no difference between the oral poetry (declaimed or sung) practised in town and that of the countryside (Zadi <a class="xref bibr" href="#REFe-r-221" data-sectionId="#REFe-r-221"><span class="show-for-sr">Reference Zadi</span>1990</a>:32). These ‘traditional’ forms of poetry were to change as a result of contact with French chanson and music and aesthetics from elsewhere. But the real turning point came when Congolese orchestras, particularly OK Jazz, toured Côte d’Ivoire. ‘The neo-oralist movement was born and soon established its own celebrities: Nahounou Digbeu, known as Amédée Pierre, Anouma Brouh Félix, Mamadou Doumbia, Ndouba Simon, and later Ernesto Djédjé, father of modern Ziglibity, and many others’ (Zadi <a class="xref bibr" href="#REFe-r-221" data-sectionId="#REFe-r-221"><span class="show-for-sr">Reference Zadi</span>1990</a>:32). Amédée Pierre, the paragon of the modern singer, took up the ‘traditionality’ of the ‘traditional’ singer, brought about a veritable revolution in sung poetry by using the Bété language and modern musical orchestration, and ‘succeeded in recreating in the city, among a population that did not speak the same language, the village poetry evenings that seemed to suit only small, linguistically unified communities’ (Zadi <a class="xref bibr" href="#REFe-r-221" data-sectionId="#REFe-r-221"><span class="show-for-sr">Reference Zadi</span>1990</a>:33).</p><p class="p">The arrival of electricity had an impact on both the city and the production and consumption of music. Phonographs – the privilege of wealthy citizens, clubs and bars – and later electrophones and tape recorders, as well as the development of sound broadcasting around the world and the introduction of radio in Côte d’Ivoire were to broaden the audience for Western popular music and that of the Black Atlantic. Thanks to the boom in maritime transport, objects (78 rpm records from the Black Americas, musical instruments) of knowledge and know-how from the Black Americas were introduced by Latin American sailors – Cubans in particular, and Krou sailors (Gondola <a class="xref bibr" href="#REFe-r-090" data-sectionId="#REFe-r-090"><span class="show-for-sr">Reference Gondola</span>1997</a>; Mazzoleni <a class="xref bibr" href="#REFe-r-134" data-sectionId="#REFe-r-134"><span class="show-for-sr">Reference Mazzoleni</span>2010</a>). Transport and (means of) communication were therefore of vital importance in this circulation of cultural products (Warnier <a class="xref bibr" href="#REFe-r-211" data-sectionId="#REFe-r-211"><span class="show-for-sr">Reference Warnier</span>2007</a>:28–29; Gilroy <a class="xref bibr" href="#REFe-r-084" data-sectionId="#REFe-r-084"><span class="show-for-sr">Reference Gilroy</span>2010</a>), <span class="page-marker"></span>but also of musical ideas, learning, inspiration and artistic emulation, as the example of Wendo Kolosoy shows (Popovitch <a class="xref bibr" href="#REFe-r-170" data-sectionId="#REFe-r-170"><span class="show-for-sr">Reference Popovitch</span>1992</a>). The colonial period also saw the development of brass bands, the first of which were military or militarised, pastiches of <em class="italic">marching bands</em> or <em class="italic">brass bands</em>, circulating initially along the Ivorian coast (Dagri <a class="xref bibr" href="#REFe-r-058" data-sectionId="#REFe-r-058"><span class="show-for-sr">Reference Dagri</span>2019a</a>).</p><p class="p">Music is created and developed through a ‘circulation’ of knowledge and know-how, motifs (themes), harmonic sequences, sonorities, instruments, cadences, rhythms and rhythmic forms, and so on. Former American slaves were to become formidable sailors in the European fleets, as well as musicians who were to deploy their talents wherever they went, particularly in Sierra Leone and Côte d’Ivoire. It was in this context that the brass band took off, particularly in the circles of Grand-Béréby, Tabou, Sassandra, and Fresco (Dagri <a class="xref bibr" href="#REFe-r-058" data-sectionId="#REFe-r-058"><span class="show-for-sr">Reference Dagri</span>2019a</a>). This cultural ‘graft’ took hold for cultural, social and religious reasons. On the coast, where the colonial presence was strong, colonisation intentionally destroyed the Indigenous cultures and substituted its own. Music in particular, an important element of cultural identity, was disqualified in favour of fanfare music performed at official and public events. For its part, the Catholic Church outlawed certain Indigenous practices, including the playing of traditional musical instruments (Nyamnjoh & Fokwang <a class="xref bibr" href="#REFe-r-156" data-sectionId="#REFe-r-156"><span class="show-for-sr">Reference Nyamnjoh and Fokwang</span>2005</a>).</p><p class="p">The creation of African brass bands and the creation of ‘Indigenous’ repertoires is often a reaction to this negation of ‘Indigenous’ music by the colonisers. Throughout the coast, the brass band has become a ‘tradition’ and the local populations have conceivably ‘forgotten’ traditional music as it might have been played with the traditional instruments of the <em class="italic">Kroumen</em>, <em class="italic">Néyo</em> and so on. It can be assumed that they have certainly reflected their habitus of playing traditional music. We can assume that they have certainly translated their musical habitus into Western tempered instruments and harmonic structures.</p><p class="p">In the second half of the nineteenth century, Jamaican sailors began spreading Caribbean music (i.e. <em class="italic">calypso</em>, <em class="italic">merengue</em>) in Cape Town (South Africa). These styles spread up and down the West African coast, mixing with other local rhythms by river and land, producing such novelties as the <em class="italic">adaha</em>, an African brass band. Later, in the 1920s, in Sierra Leone, the <em class="italic">Kru</em> sailors, of good repute, returned from coastal trading in the Congo with alcohol, but also with melodies, musical instruments and the rudiments of instrumental technique (Doumergue <a class="xref bibr" href="#REFe-r-069" data-sectionId="#REFe-r-069"><span class="show-for-sr">Reference Doumergue</span>1981</a>). They created a (<em class="italic">softer)</em> derivative of the <em class="italic">adaha</em>, the <em class="italic">maringa</em>, a ‘<em class="italic">palm</em> wine jazz’, played on guitars, banjos and accordions, combining the songs and dances of the English sailors with Caribbean melodies such as <em class="italic">foxtrot</em> and <em class="italic">calypso</em>, giving rise to other types of music (Collins <a class="xref bibr" href="#REFe-r-054" data-sectionId="#REFe-r-054"><span class="show-for-sr">Reference Collins</span>1992</a>). This palm wine music was adopted and spread by the <em class="italic">Kru</em> sailors from Liberia sailing along the West African coast. In the process, they also spread guitars, banjos and <span class="page-marker"></span>accordions throughout the coastal countries, as far as Cape Town. In the mid-1920s, this new music (<em class="italic">maringa</em>) reached Ghana where, mixing with <em class="italic">osibisaba</em>, a <em class="italic">Fanti</em> rhythm, <em class="italic">foxtrot</em>, <em class="italic">palm wine jazz</em> and so on, it developed in the 1930s and 1940s into <em class="italic">highlife</em>, a fusion of black American, European and African music, popularised in the following years.</p><p class="p">The port cities, often former colonial trading posts that gave rise to large cities and important ports, ensured the circulation of musical instruments and technical devices. This aspect of Atlantic circulation plays an important role in understanding the dynamics of the creation of new music and new cultures in continental Africa (Zeleza <a class="xref bibr" href="#REFe-r-224" data-sectionId="#REFe-r-224"><span class="show-for-sr">Reference Zeleza</span>2005</a>:221), and in Côte d’Ivoire in particular. It enables us to understand the birth of Congolese <em class="italic">highlife</em> and <em class="italic">rumba</em>, which were to have a major influence on the creation of modern Ivorian popular music. In the end, whatever the mode, musical ‘traditions’ blend together to produce the multi-traditional cultural fund from which contemporary creation draws. The circuits of influence seem to form part of an endless circularity.</p><p class="p">In the 1950s (until the end of the 1960s), popular balls – the famous ‘dust balls’ – were predominant, often led by ‘ethnic’ orchestras. The adventure of radio broadcasting in Côte d’Ivoire began in 1949. It had only been possible to establish radio broadcasting ‘since the popularisation of transistor radios’ (Tudesq <a class="xref bibr" href="#REFe-r-201" data-sectionId="#REFe-r-201"><span class="show-for-sr">Reference Tudesq</span>2002</a>:5). The period of independence coincided with the invention of the transistor. At the same time as the voice of political leaders, modern popular song could begin to penetrate the countryside as well as the city. Radio was as much a vehicle for African nationalism, particularly that of Kwame Nkrumah (in 1957) and Sékou Touré (in 1958), neighbours of Félix Houphouët-Boigny’s Côte d’Ivoire, as it was for popular song. It was through them that the famous <em class="italic">‘Indépendance cha cha’</em> (by Grand Kallé and African Jazz) was popularised. But also, in a post-war context, where the Ivorian political system was initiating the industrialisation of the country, the question of mass culture inevitably arose. Society was no longer restricted to the literate urban elite, but was gradually expanding to include more modest sections of the population (the urban proletariat, the rural petty bourgeoisie, etc.). These groups, excluded from the modern society that was taking shape, found ‘forms of belonging and cultural forms’ in a popular culture that was itself under construction (compare Balandier 1955; Rouch <a class="xref bibr" href="#REFe-r-178" data-sectionId="#REFe-r-178"><span class="show-for-sr">Reference Rouch</span>1959</a>). With the rise of radio broadcasting in the late 1950s (Tudesq <a class="xref bibr" href="#REFe-r-203" data-sectionId="#REFe-r-203"><span class="show-for-sr">Reference Tudesq</span>1998</a>, <a class="xref bibr" href="#REFe-r-202" data-sectionId="#REFe-r-202"><span class="show-for-sr">Reference Tudesq</span>1999</a>, <a class="xref bibr" href="#REFe-r-201" data-sectionId="#REFe-r-201"><span class="show-for-sr">Reference Tudesq</span>2002</a>; Bahi <a class="xref bibr" href="#REFe-r-020" data-sectionId="#REFe-r-020"><span class="show-for-sr">Reference Bahi</span>1998</a>; Koné <a class="xref bibr" href="#REFe-r-113" data-sectionId="#REFe-r-113"><span class="show-for-sr">Reference Koné</span>1989</a>), that of cinema (Retord <a class="xref bibr" href="#REFe-r-172" data-sectionId="#REFe-r-172"><span class="show-for-sr">Reference Retord</span>1986</a>; Traoré <a class="xref bibr" href="#REFe-r-200" data-sectionId="#REFe-r-200"><span class="show-for-sr">Reference Traoré</span>1986</a>) and then that of terrestrial television (Koné <a class="xref bibr" href="#REFe-r-113" data-sectionId="#REFe-r-113"><span class="show-for-sr">Reference Koné</span>1989</a>; Bahi <a class="xref bibr" href="#REFe-r-021" data-sectionId="#REFe-r-021"><span class="show-for-sr">Reference Bahi</span>1994</a>, <a class="xref bibr" href="#REFe-r-020" data-sectionId="#REFe-r-020"><span class="show-for-sr">Reference Bahi</span>1998</a>, <a class="xref bibr" href="#REFe-r-019" data-sectionId="#REFe-r-019"><span class="show-for-sr">Reference Bahi</span>1999</a>) from 1963 onwards, of the press and in particular magazines, with the introduction of images from the Western world, from the end of the 1960s in the case of Côte d’Ivoire, communication opened up the market for leisure activities and cultural industries (Caune <a class="xref bibr" href="#REFe-r-052" data-sectionId="#REFe-r-052"><span class="show-for-sr">Reference Caune</span>1995</a>:44).</p><p class="p"> <span class="page-marker"></span>In Côte d’Ivoire, <em class="italic">highlife</em> music, the official national music of Ghana, first influenced Christian religious singing (prosaically known as church music). <em class="italic">Highlife</em> (and Afro-Cuban music) reached Central Africa in the 1950s and had an impact on Congolese <em class="italic">rumba.</em> In the Belgian Congo, it influenced Wendo Kolosoy, one of the pioneers of Congolese <em class="italic">rumba.</em> The influence of West African immigrants, who were ‘advanced’ musically, brought their know-how (the <em class="italic">highlife</em> in vogue at the time) to musicians in Central Africa, thus influencing <em class="italic">rumba</em>. Their ‘advance’ was probably due to the fact that Africans, Ghanaians in particular, had been drafted into European armies during the pre-colonial era, but especially during the colonial period. They were thus exposed to military musical traditions (Dagri <a class="xref bibr" href="#REFe-r-058" data-sectionId="#REFe-r-058"><span class="show-for-sr">Reference Dagri</span>2019a</a>). Karin Barber (<a class="xref bibr" href="#REFe-r-026" data-sectionId="#REFe-r-026"><span class="show-for-sr">Reference Barber</span>2018</a>) sums up this whole period well, and what she says about colonial sub-Saharan Africa applies to the situation in Côte d’Ivoire at the time: </p><div class="disp-quote"><p class="p">In almost every city in colonial sub-Saharan Africa, new genres of popular music emerged: <em class="italic">highlife</em> on the Gold Coast, <em class="italic">juju</em> in western Nigeria, Congolese rumba, <em class="italic">dansi</em> in Dar es Salaam, <em class="italic">marabi</em>, <em class="italic">kwela</em> and <em class="italic">isicathamiya</em> in South Africa. Increasingly, in the mid-twentieth century, the popular music movement took on an extra dimension: radio, then television, gave it a wider reach and faster movement. New popular styles crossed national borders and new songs conquered audiences in entire regions with extraordinary speed. But underneath it all, live bands travelled from town to town and records, and later cassettes, were distributed along the roads and railways from town to town and from cities to small towns and villages. It seems that new styles were forged in specific urban centres and moved, adapting as they went, to other places.</p><div class="attrib">(p. 99)</div></div><p class="p continuation"> The term ‘jazz’, a sign of the influence of North American music from the 1950s onwards, is a true symbol of the modernity of African musicians and orchestras today (Mazzoleni <a class="xref bibr" href="#REFe-r-134" data-sectionId="#REFe-r-134"><span class="show-for-sr">Reference Mazzoleni</span>2010</a>). Understanding this Ivorian popular music requires us to articulate the rural and urban worlds, not in a dichotomous juxtaposition or antinomy, but rather in terms of poles of tension and complementarity. Instead, their relationship should be understood in terms of ‘rurbanity’, the interface that is created when they meet. Rurbanity is understood as an intermediate space between town and country, between urban and rural. Rural people moving to the city in defined areas, urban people moving to the village in defined areas, all play an equally important role in the creation of rurbanity. It is a transitional space between urban and rural lifestyles, a place of mixing and compromise. The heuristic scope of the category ‘rurbanité’ seems to us to be more productive in that it emphasises an intermediate reality, one that defines the terms ‘urban’ and ‘rural’ not in terms of oppositions but rather in terms of complementarity.</p><p class="p"><span class="page-marker"></span>Modern popular music is first and foremost a product of ‘rurbanity’. The ‘rurban’ space is understood as a place at the heart of the everyday life we live, and ‘where the unfinished spatial dynamics of centrality are inscribed’ (Bachimon <a class="xref bibr" href="#REFe-r-014" data-sectionId="#REFe-r-014"><span class="show-for-sr">Reference Bachimon</span>2001</a>:10). The ‘rurban’ space, then, refers to those – often diffuse – places where town and country intertwine from a geographical, social, cultural, in short anthropological point of view, where modernity is negotiated (Macamo <a class="xref bibr" href="#REFe-r-128" data-sectionId="#REFe-r-128"><span class="show-for-sr">Reference Macamo and Macamo</span>2005</a>), where it is constructed daily in a processual way in the acts of ordinary individuals. Modern popular music therefore also develops in the rurban enclaves of cities undergoing rapid transformation (Rouch 1957, 1959). It is born of the meeting of worlds, as sketched out again in the film <em class="italic">La pyramide humaine</em> (Rouch <a class="xref bibr" href="#REFe-r-178" data-sectionId="#REFe-r-178"><span class="show-for-sr">Reference Rouch</span>1959</a>). This place allows us to grasp the very birth of rhythms and sounds, poetic and choreographic expressions, the transformations of existing musical art forms and the creativity induced by the city (Bibeau <a class="xref bibr" href="#REFe-r-037" data-sectionId="#REFe-r-037"><span class="show-for-sr">Reference Bibeau</span>1993</a>:255; Roskem <a class="xref bibr" href="#REFe-r-175" data-sectionId="#REFe-r-175"><span class="show-for-sr">Reference Roskem</span>2014</a>).</p><p class="p">The burgeoning city was already an effervescent place where diverse cultural realities rubbed shoulders, where musical genres and styles developed, echoed and exchanged. Music travels, ‘knows no boundaries’, knows how to ignore territories and create new ones (Lafannour <a class="xref bibr" href="#REFe-r-117" data-sectionId="#REFe-r-117"><span class="show-for-sr">Reference Laffanour</span>2003</a>). It is built on the circulation of ideas, musical concepts and objects; on blending (on ‘miscegenation’, creolisation), on cultural plurality, and is therefore mestizo by essence. It has to be said, then, that modern Ivorian popular music takes off through and in the movement of people, ideas and objects. It sounds like a pastiche of the observations made by Claude Lévi-Strauss in <em class="italic">Anthropologie structurale</em> (<a class="xref bibr" href="#REFe-r-126" data-sectionId="#REFe-r-126"><span class="show-for-sr">Reference Lévi-Strauss</span>1958</a>[<a class="xref bibr" href="#REFe-r-126" data-sectionId="#REFe-r-126"><span class="show-for-sr">Reference Lévi-Strauss</span>1974</a>]), in particular the exchange of people, goods and messages.</p></div><div class="sec" id="A-sec-6" data-magellan-destination="A-sec-6"><h3 class="A title"><span class="label">2</span> The Development of (and by) Popular Music </h3><p class="p">Independence in French-speaking sub-Saharan Africa was marked by the famous ‘<em class="italic">Independence cha cha</em>’. This reappropriation of an ‘essentially’ African rhythm, (re-)formed in the Americas and the Caribbean and brought back to Africa thanks to maritime transport, the phonograph, the nascent record industry and embryonic radio broadcasting, closely associated with urbanisation (Nyamnjoh & Fokwang <a class="xref bibr" href="#REFe-r-156" data-sectionId="#REFe-r-156"><span class="show-for-sr">Reference Nyamnjoh and Fokwang</span>2005</a>:254), is of undeniable symbolic significance. Indeed, ‘during the Second World War, more difficult relations with the metropolis led African stations to produce more local broadcasts’ (Tudesq <a class="xref bibr" href="#REFe-r-203" data-sectionId="#REFe-r-203"><span class="show-for-sr">Reference Tudesq</span>1998</a>:59–60). Despite the work of balkanisation and the strengthening of national sentiment brought about by the slow establishment of territorial radio stations, it is conceivable that modern popular music has remained extraterritorial. Concerning an administrative, social and cultural whole much larger than that of the (sometimes shifting) borders of a particular colony, popular music carries the hopes of development and the dreams of modernism of this young Africa.</p><p class="p"><span class="page-marker"></span>At the beginning of the African rumba musical adventure, local rumba performers had to give the impression that they were speaking Spanish. This produced a kind of onomatopoeia that was often grotesque but that created the illusion of singing in Spanish. And even if this babble had no name, it was reminiscent of ‘<em class="italic">fonronfifon naspa</em>’ or ‘tirailleurs’ French’, the illusion of speaking the dominant ‘civilised’ French language (Hampâté Bâ <a class="xref bibr" href="#REFe-r-096" data-sectionId="#REFe-r-096"><span class="show-for-sr">Reference Hampâté Bâ</span>1992</a>:148). Later, as <em class="italic">pop music</em> spread over radio, television and dance halls, the illusion was that of speaking English, or even American. On reflection, this is reminiscent of the film <em class="italic">Moi un Noir,</em> in which Tarzan the Taxi Driver gabbles something that is supposed to be the English of American action films and, above all, the accent of Lemmy Caution, ‘American federal agent’.</p><p class="p">In the first decade of independence (1960–1970), the newly independent Côte d’Ivoire had no cultural policy and even less of a real vision for modern popular music. It was building its cultural autonomy on the basis of material from colonial times, but also from mixing with other cultures. Yet music seemed to define a consumer market. In the early 1960s, Côte d’Ivoire imported cameras and accessories, phonographs, <em class="italic">pick-ups</em>, motors, record players, record changers, and so on from Switzerland, at least 50 per cent of them for cinema equipment (projectors and cameras). In music in particular: <em class="italic">rumba</em>, <em class="italic">highlife</em>, French ‘sentimental’ music, and so on. This process of recycling also reflects a process of identity-building through music.</p><p class="p">In the 1970s, Côte d’Ivoire tried to follow this trend with the creation of major orchestras, such as the Orchestre national directed by Joseph Pango, the Orchestre de la Radiodiffusion télévision ivoirienne (ORTI), and orchestras such as the OFI de Bouaké and Le Bélier Andralex. Independence accelerated and amplified this movement initiated by the colonial situation. There is undoubtedly a close link between urban development and popular music. ‘The post-colonial phase [of the city] is that of the massification of the city, but also that of the appropriation of the city by African societies’ (Piermay <a class="xref bibr" href="#REFe-r-167" data-sectionId="#REFe-r-167"><span class="show-for-sr">Reference Piermay</span>2003</a>:39). With the possible exception of Plateau, all of Abidjan’s neighbourhoods are characterised by precarious housing, cosmopolitanism and intermingling, and are in a sense a ‘detribalised’ environment (Yapi Diahou <a class="xref bibr" href="#REFe-r-220" data-sectionId="#REFe-r-220"><span class="show-for-sr">Reference Yapi Diahou</span>2000</a>:125–134). These ‘zones’ are not, therefore, watertight, but are places par excellence of cultural exchange and mixing (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>, Kipré <a class="xref bibr" href="#REFe-r-106" data-sectionId="#REFe-r-106"><span class="show-for-sr">Reference Kipré</span>1985</a>, Yapi Diahou <a class="xref bibr" href="#REFe-r-220" data-sectionId="#REFe-r-220"><span class="show-for-sr">Reference Yapi Diahou</span>2000</a>). In addition, economic growth has led to ‘a massive rural exodus and intense immigration from neighbouring countries’ (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>:21). School enrolment provided a stimulus for modernisation. But schooling is not enough to satisfy the cultural needs, which have increased or are increasing, and which reflect the spiritual void. This spiritual emptiness is due to a propensity to enjoy material wealth and the hunger to consume engendered by modern <span class="page-marker"></span>society. Côte d’Ivoire is entering a consumer society. Song attempts to fill this cultural and spiritual void by expressing the aspirations of the masses: freedom, justice, solidarity, social progress. While modernising (in terms of instrumentation, structuring, harmonisation and composition), it valued the national languages through which it often expressed itself, improved knowledge of the past, and gave impetus to the cultural dynamic which itself accompanied the social and economic (political?) dynamic (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>:21).</p><p class="p">Independent Côte d’Ivoire witnessed a profusion of rhythms and songs, ‘a “national surge” in popular song’, with ‘singers from all ethnic groups appearing on the Ivorian musical scene, stimulated by the development of modern means of expressing and disseminating music’ (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>:14). There was a veritable flowering of artists and icons of the Ivorian musical universe, and Abidjan evenings were divided between numerous bars, <em class="italic">nightclubs</em> and <em class="italic">dance halls</em>.</p><p class="p">This does not mean that ‘traditional’ popular music has disappeared. Local, typical music is developing and even showing a certain vitality. ‘Traditional’ artists are evolving year after year in the new world of <em class="italic">show business</em> and the music industry. In more prosaic terms, the various genres and styles of popular music are categorised according to ethnic criteria (‘bété’, ‘attié’, ‘dioula’, etc.) or regional criteria (‘western’, ‘Agnéby’, ‘mandingue’, etc.). These many qualifications do little to hide the difficulty of classifying musical genres that are in fact already and always mixtures. The concept of ‘tradi-moderne’ put forward by musicologists and cultural journalists aims to characterise music that takes its inspiration from traditional music and interprets it with modern musical instruments (Kua-Nzambi Toko <a class="xref bibr" href="#REFe-r-116" data-sectionId="#REFe-r-116"><span class="show-for-sr">Reference Kua-Nzambi Toko</span>2018</a>) in order to account for the complementarity of these incompleteness (to take up Nyamnjoh <a class="xref bibr" href="#REFe-r-154" data-sectionId="#REFe-r-154"><span class="show-for-sr">Reference Nyamnjoh</span>2017</a>’s proposal).</p><p class="p">The emergence of certain figures in African popular music and a number of events have certainly influenced sub-Saharan artists. In the 1960s, musicians from the two Congos, the flagships of Congolese rumba, were to have a certain influence on Ivorian music. Events in Côte d’Ivoire itself and elsewhere in Africa were to shake up the music scene and influence Ivorian musical creativity. While many Ivorian decision-makers considered music to be mere entertainment, or even an obstacle to development (Dagri <a class="xref bibr" href="#REFe-r-059" data-sectionId="#REFe-r-059"><span class="show-for-sr">Reference Dagri</span>2019b</a>), President Félix Houphouët-Boigny saw it as a soft power tool, part of his development showcase and an ideology of success capable of attracting foreign investment. The country became more open to foreign artistic influences, continuing a movement that had begun during the colonial era.</p><p class="p">In the 1970s, thanks to the penetration of radio, the development of television and the spread of vinyl records across the country, the ears and eyes of young people in Abidjan became more open to world music. Radio Côte d’Ivoire kept the airwaves alive with songs by French, African, American and Caribbean <span class="page-marker"></span>artists, who would have a strong influence on Ivorian musicians. Television broadcasts of French and American variety shows, as well as festivals and musical performances of various origins (including, for example, <em class="italic">Rumble in the Jungle –</em> the famous Ali–Foreman boxing match). Print magazines such as <em class="italic">Hit Parade</em> and <em class="italic">Salut les copains</em> circulated year in, year out, chronicling the lives of these new European idols, who were, after all, marked by a certain media Americanness. The mass media played a full part in this aesthetic openness, this cultural mix, in short, this circulation. Youth orchestras were influenced by the waves of ‘<em class="italic">yéyé</em>’ (Morin 1962), <em class="italic">pop</em>, <em class="italic">rock</em>, <em class="italic">soul</em> and <em class="italic">jerk</em>, while others were influenced by Latin American rhythms. Ivorian popular music was influenced by rhythms from the Black African diaspora, particularly Cuban salsa, which began to develop in the 1960s. As if in response to a globalised movement (even if the term was not used at the time), young Ivorians mixed the <em class="italic">bit-nick ethos</em>, then the <em class="italic">hippy ethos</em>, with their African identity. They imitated these <em class="italic">pop music</em> figures and reproduced their music before producing ‘<em class="italic">Ivorian rock</em>’.</p><p class="p">At the same time, in line with a trend that began during colonisation, major orchestras such as Les Grands Columbia d’Adzopé and TP audiorama orchestra, with big names such as Okoi Séka Athanase and Amédée Pierre, who continued to entertain (until the mid 1980s) at the L’Oasis dance hall in Treichville, were developed and maintained.</p><p class="p">The modernisation of popular music continued, with an all-out search for new sounds drawn from the music (instruments, rhythms, melodies) of the Ivorian musical traditions, the music of the ‘terroirs’: ‘modernisation’ and even revolution in a certain sense of Ivorian music, but also hybridisation and the influence of hybrid music. This period also saw the development of so-called typical music, strongly influenced by jazz but above all by Congolese, Cuban and Ghanaian rumbas, known as <em class="italic">highlife</em> (Bemba <a class="xref bibr" href="#REFe-r-035" data-sectionId="#REFe-r-035"><span class="show-for-sr">Reference Bemba</span>1984</a>:46–47).</p><p class="p">Abidjan was more than just a stopover for visiting musicians; it was a place where music could flourish, and one that also played a part in the transformation of Ivorian popular music. Another example is the work of Manu Dibango, a professional musician of international expertise and renown, and a leading figure in Afro-jazz, as director of the Orchestre de la radiodiffusion télévision ivoirienne (Nyamnjoh <a class="xref bibr" href="#REFe-r-151" data-sectionId="#REFe-r-151"><span class="show-for-sr">Reference Nyamnjoh</span>2020</a>; Pajon <a class="xref bibr" href="#REFe-r-163" data-sectionId="#REFe-r-163"><span class="show-for-sr">Reference Pajon</span>2021</a>). This cultural melting pot had an influence on Ivorian music thanks to television, records and individual contacts with Ivorian figures (Mobio Agbakou Ludovic, Ernesto Djédjé, Mamadou Doumbia, Bailly Spinto, Yapi Amadékan, Aïcha Koné, Jeanne Agnimel, etc.) At the time (1978), ‘it was see Abidjan or die’, as Pierre ‘Dizzy’ Mandjeku put it. There was an artistic effervescence that touched every aspect of cultural life. It was reinforced by the opening of the JBZ studio in 1978, which was to <span class="page-marker"></span>stimulate Ivorian and West African production. It was no longer necessary to use RTI equipment or travel to Ghana, Nigeria or France to record music. <em class="italic">Highlife</em>, then <em class="italic">Afrobeat</em>, would no longer reign supreme. The effects of intercultural exchange were reinforced by the rapid globalisation of other styles such as <em class="italic">soul music</em> and <em class="italic">funk music</em>. While Accra was the capital of <em class="italic">highlife</em> and Lagos the capital of <em class="italic">afrobeat</em>, Abidjan was trying to position itself as the capital of <em class="italic">funk</em> and <em class="italic">disco</em> (Contreras <a class="xref bibr" href="#REFe-r-056" data-sectionId="#REFe-r-056"><span class="show-for-sr">Reference Contreras</span>2016</a>), the dance music par excellence. The JBZ studio, which was born at the heart of this explosion, was probably one of the first <em class="italic">world music</em> laboratories.</p><p class="p">Since the 1970s, with the development of cities and the mass media, mass consumption and mass culture have developed. With mass consumption comes (paradoxically) a growing demand for authenticity. In the case of Côte d’Ivoire, the debate is particularly fierce because the colonial period has left traces that are slow to fade and wounds that are difficult to heal. Social life changed radically (see Vidal <a class="xref bibr" href="#REFe-r-209" data-sectionId="#REFe-r-209"><span class="show-for-sr">Reference Vidal</span>1992</a>; Ouattara <a class="xref bibr" href="#REFe-r-160" data-sectionId="#REFe-r-160"><span class="show-for-sr">Reference Ouattara</span>1985</a>; Touré <a class="xref bibr" href="#REFe-r-199" data-sectionId="#REFe-r-199"><span class="show-for-sr">Reference Touré</span>1981</a>). The movement continued over the next two decades. In the 1980s, with the globalisation of American music, young Ivorians ‘responded’ with Ivorian <em class="italic">country-folk</em> music, <em class="italic">hip hop</em>, <em class="italic">break dancing</em> and so on.</p><p class="p">The city is a formidable melting pot where people, ideas and objects circulate, abound and mix. Obviously, Abidjan appears to be an obligatory stopover, a springboard for many musical artists waiting to conquer Europe and the rest of the world. Côte d’Ivoire has long been a haven for people, including artists fleeing dictatorial political regimes or political instability in neighbouring countries. On the one hand, Ivorian music lovers have proved receptive to <em class="italic">highlife</em>, Congolese <em class="italic">rumba</em>, <em class="italic">makossa</em> and many other African rhythms and genres. Côte d’Ivoire, and Abidjan in particular, has also played a role in the real flowering of artists. ‘For West African musicians, Abidjan and Côte d’Ivoire are naturally a kind of launch pad, a hub from which their international careers can take off towards other horizons’ (Ngoran <a class="xref bibr" href="#REFe-r-149" data-sectionId="#REFe-r-149"><span class="show-for-sr">Reference Ngoran</span>2013</a>: 174).</p><p class="p">The picture painted above is not the story of a smooth cultural melting pot. ‘Culture’ and ‘politics’ have a complex and conflicting relationship. This ‘extrovert musicalisation’ (Dédy <a class="xref bibr" href="#REFe-r-061" data-sectionId="#REFe-r-061"><span class="show-for-sr">Reference Dédy</span>1984</a>:119) of programming in the mass media and in performance venues is not to the taste of some Ivorian artists and intellectuals. Their music was disqualified and relegated to the rank of ‘folklore’ (Dédy <a class="xref bibr" href="#REFe-r-061" data-sectionId="#REFe-r-061"><span class="show-for-sr">Reference Dédy</span>1984</a>). Indeed, this opening up to the outside world was appreciated in different ways: some hailed the opening up to the world necessary for development (synonymous with civilisation), while others cried cultural alienation threatening traditional local cultures. But television is sorely lacking in programmes and is filling its schedule with programmes borrowed <span class="page-marker"></span>from Western television, mostly French, ‘ready to broadcast’, while benefiting from the aid of cooperation and development organisations and institutions. The result is a (remarkable) diversity of programmes in which music and, more generally, popular Ivorian ‘culture’ struggle to find a place. Paradoxically, the Ivorian mass media, while attempting to promote local realities and culture, tend to promote (more) the Americanised culture in the process of globalisation. National artists, rather on a ‘popular commission’, would mainly only perform in makeshift dance bars on the outskirts of the capital (Abobo, Yopougon, Port-Bouët, Treichville). Many musicians of the time saw this extraversion (openness) as a loss of earnings and a hindrance to the revival of national music, if not its liquidation.</p><p class="p">In the cities, pioneer orchestras are often places of inter-ethnic and intercultural mixing. Many of the musicians and singers, former <em class="italic">sidemen</em> (musicians or choristers) in these pioneer orchestras, were undoubted schools of music. They in turn became leaders whose orchestral ensembles were laboratories for experimenting with blends and creating musical styles. Compared with the pre-colonial and colonial periods, ‘the era of independence is above all one of interference and syncretism’ (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>:22). Treichville was a place for mixing people and genres, people and cultures (Rouch <a class="xref bibr" href="#REFe-r-178" data-sectionId="#REFe-r-178"><span class="show-for-sr">Reference Rouch</span>1959</a>), the showcase of Abidjan as a world city (Vidal <a class="xref bibr" href="#REFe-r-208" data-sectionId="#REFe-r-208"><span class="show-for-sr">Reference Vidal</span>2002</a>).</p><p class="p">Mass society is established, takes hold of cultural objects and gives birth to mass culture (Arendt <a class="xref bibr" href="#REFe-r-008" data-sectionId="#REFe-r-008"><span class="show-for-sr">Reference Arendt</span>1972</a>[2005]:265). In the 1980s, FM (frequency modulation) really penetrated Africa and improved listening quality (Tudesq <a class="xref bibr" href="#REFe-r-202" data-sectionId="#REFe-r-202"><span class="show-for-sr">Reference Tudesq</span>1999</a>). Radio truly emerged as the <em class="italic">mass media</em> par excellence, particularly in its capacity for mass dissemination. The media, themselves ‘generators of new ritual manifestations, specific to modern times’ (Coman <a class="xref bibr" href="#REFe-r-055" data-sectionId="#REFe-r-055"><span class="show-for-sr">Reference Coman</span>2003</a>:9), have the capacity to amplify public participation or the prestige of the artist or the ‘hit’. Hence, popular song itself can be seen as mass communication.</p><p class="p">The decade from 1975 to 1985 was a period of relative musical effervescence: each ethnic group (so to speak) ‘modernised’ its traditional music, translating it into the codes of a synthetic musicality underway in the public arena. This can be seen as the real beginning of Ivorian musical synthesis. The music was rejuvenated, ‘intellectualised’, and ‘curiously’ popularised. Despite the limited resources of a Côte d’Ivoire in the throes of a major economic crisis, there was hope of an improvement in living conditions and integration into the economic fabric.</p><p class="p">Wondji (<a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>) speaks of the development of music from all the regions of Côte d’Ivoire, which will have their own modern singers. In short, the culture disseminated by the <em class="italic">mass media</em> is becoming a consumer good, and the value of an artist tends to be gauged by the extent of his media coverage or his share of <span class="page-marker"></span>voice; the risk lies in the fact that the nature of these cultural objects can be altered as soon as they are ‘modified – rewritten, condensed, digested, reduced to the state of junk for reproduction or image’ (Arendt <a class="xref bibr" href="#REFe-r-008" data-sectionId="#REFe-r-008"><span class="show-for-sr">Reference Arendt</span>1972</a>[2005]:265), culture being destroyed in order to engender leisure.</p><p class="p">The development of modern popular urban music in Côte d’Ivoire inevitably took place in the burgeoning city, the urbanisation and metropolisation of Abidjan (the country’s economic capital). Abidjan was trying to compete with Kinshasa in terms of atmosphere, the good life – a world of resourcefulness in which, all things considered, social success was possible. Ivorian cities changed a great deal between the post-war years and the time of this study, over a period of seventy years (see Kipré, <a class="xref bibr" href="#REFe-r-106" data-sectionId="#REFe-r-106"><span class="show-for-sr">Reference Kipré</span>1985</a>, <a class="xref bibr" href="#REFe-r-105" data-sectionId="#REFe-r-105"><span class="show-for-sr">Reference Kipré</span>1986</a>, <a class="xref bibr" href="#REFe-r-107" data-sectionId="#REFe-r-107"><span class="show-for-sr">Reference Kipré</span>1975</a>). Abidjan is becoming a metropolis, or is in the midst of a process of metropolisation (Bassand <a class="xref bibr" href="#REFe-r-029" data-sectionId="#REFe-r-029"><span class="show-for-sr">Reference Bassand</span>2001</a>). Abidjan is undergoing major restructuring. It is characterised by its sprawl, ‘encouraging the redeployment of social segregation and specialisation, even ghettoisation, in a kind of “systematic functional specialisation of the land” bringing together more or less homogenous types of activity in specific areas (i.e. business district, administrative district, shopping district, residential district, “dormitory” district, etc.)’ (Bassand <a class="xref bibr" href="#REFe-r-029" data-sectionId="#REFe-r-029"><span class="show-for-sr">Reference Bassand</span>2001</a>:34). Phenomena of ‘sub-urbanisation’ and ‘periubarnisation’, emptying urban centres of the middle social classes, are developing at the same time as a kind of infra-urbanisation characterised by spontaneous informal housing on undeveloped sites (Bassand <a class="xref bibr" href="#REFe-r-029" data-sectionId="#REFe-r-029"><span class="show-for-sr">Reference Bassand</span>2001</a>:34). With metropolisation, a ‘systematic disconnection between space and time is taking place, amplifying the fragmented lives of metropolitan dwellers’.</p><p class="p"> Metropolisation greatly accentuates individualism and individuation, while easing certain social constraints (Bassand <a class="xref bibr" href="#REFe-r-029" data-sectionId="#REFe-r-029"><span class="show-for-sr">Reference Bassand</span>2001</a>:37). The situation in which these musicians evolve and urban music develops is that of ‘metropolity’ (Bassand <a class="xref bibr" href="#REFe-r-029" data-sectionId="#REFe-r-029"><span class="show-for-sr">Reference Bassand</span>2001</a>:37). This neologism refers to the new forms and modes of sociability that are emerging and developing in metropolitan environments. They are characterised by the affirmation of individual autonomy. One of these new modes of sociability is ‘networked sociality’, the advantage of which is that it combines maximum connectivity and autonomy in a highly flexible way (Bassand <a class="xref bibr" href="#REFe-r-029" data-sectionId="#REFe-r-029"><span class="show-for-sr">Reference Bassand</span>2001</a>:37). This concept thus refers to the local and the global, two metropolitan horizons that are articulated in the concept of <em class="italic">glocal</em>. <em class="italic">Glocality</em> is therefore an important aspect of metropolity (Bassand <a class="xref bibr" href="#REFe-r-029" data-sectionId="#REFe-r-029"><span class="show-for-sr">Reference Bassand</span>2001</a>:38). Social and cultural diversity is seen as an asset rather than a threat, and this implies changes in the socialisation and integration of foreigners in the metropolis (Bassand <a class="xref bibr" href="#REFe-r-029" data-sectionId="#REFe-r-029"><span class="show-for-sr">Reference Bassand</span>2001</a>:38). In this configuration, particularly with courtyard housing, the neighbourhood becomes very important and is a player that tends to supplant the family. </p><div class="disp-quote"><p class="p"><span class="page-marker"></span>As a social space for artistic practices, the city becomes the place for social practices of representation and cultural mediation. The city will become what we might call the natural space for the emergence and development of artistic activity, in other words, an activity of communication and representation that only has meaning and consistency if it is exercised in the public space.</p><div class="attrib">(Lamizet <a class="xref bibr" href="#REFe-r-118" data-sectionId="#REFe-r-118"><span class="show-for-sr">Reference Lamizet</span>2002</a>:62)</div></div><p class="p">The relationship between the global and the local, the rural and the urban, often leads to dead-ends – as repulsive points rather than poles of attraction. The ‘glocal’ thus seems to be more operative in the reality created by the globalisation movement. Rurbanity is linked to glocality in the same place, in the same rental location. In our view, the nuance between rurbanity and glocality is a question of scale. In such an ambiguous space, we postulate that the individual, the atom of action, does not live alone in the world, no longer lives alone in the world, but belongs to a network and therefore belongs to the glocal. However, in our view, the individual, or actor-network (Latour <a class="xref bibr" href="#REFe-r-119" data-sectionId="#REFe-r-119"><span class="show-for-sr">Reference Latour</span>2007</a>), does not cancel out the individual’s individuality and active role. Music is a perfect illustration of the malleability of the globalised world, in which distance does not cancel out the possibility of hybridisation, of appropriation of new sounds, of ‘cross-fertilisation’, and which ‘makes all kinds of local appropriations and alterations possible, largely facilitated by a certain attenuation of the language barrier’ (Bonniol <a class="xref bibr" href="#REFe-r-040" data-sectionId="#REFe-r-040"><span class="show-for-sr">Reference Bonniol, Abou and Haddad</span>1999</a>:321).</p><p class="p">The newly independent state, despite its efforts to raise itself to the level of the most advanced peoples in the world, had difficulty satisfying the ‘cultural needs’ of its people. Popular song took on the task of filling this gap ‘by expressing the aspirations of the popular masses for greater freedom, justice, solidarity and social progress. By promoting national languages and knowledge of the past, it testifies to the desire for cultural and linguistic resourcefulness that should enable the real achievement of national independence’ (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>:21).</p><p class="p">With ‘the modernisation of orchestras and … the contribution of foreign musical styles’, Ivorian popular music experienced a real boom marked by ‘interference and syncretism’ (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>:22). There is constant communication between town and country, and in particular intense artistic communication. Town and country are no longer discriminating criteria. Moreover, the difference between rural popular music and urban popular music is becoming so tenuous that its heuristic (ontological) utility is questionable. ‘The syncretism of themes, musical techniques and rhythms reveals the intensity of urban-rural exchanges, which contribute to the fragmentation of the spaces and audiences of [popular] song, and attest to the desire for cultural/artistic revival’ (Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>:22). But all popular singers (rural or urban) are subject to the laws of the market.</p><p class="p"><span class="page-marker"></span>The structural adjustment plans of the 1980s, and the disastrous progress of the globalisation of economic liberalism, against a backdrop of weakening developmentalist and modernising ideologies, have laminated a fragile and relatively unstable Ivorian society. It is no longer the role of the weakened State to modernise the country and its people by combating ‘traditions’ that are synonymous with atavism, obscurantism, underdevelopment and so on. On the contrary, the state is going to encourage these ‘traditions’ and tend to ‘heritage them as “regional” or “ethnic” components of a “national identity’’’ (Bazin <a class="xref bibr" href="#REFe-r-031" data-sectionId="#REFe-r-031"><span class="show-for-sr">Reference Bazin</span>2014</a>:17). ‘Traditions’ are no longer opposed to ‘modernity’, he explains. On the contrary, the latter (modernity) passes through ‘traditions’. This certainly encourages the blending of these two diffuse ‘entities’. This mix of traditional and modern music is expressed in places where musical groups once described as ‘typical’ perform regularly. Yopougon became a mecca for night-time festivities. In the early 1980s, Côte d’Ivoire was home to major public concerts in stadiums.</p><p class="p">The rise of the <em class="italic">mass media</em> plays a very important role in the dissemination of popular culture. Popular culture is ‘a space in movement whose centres of development evolve according to historical periods’ (Mouchtouris <a class="xref bibr" href="#REFe-r-144" data-sectionId="#REFe-r-144"><span class="show-for-sr">Reference Mouchtouris</span>2007</a>:42). In many respects, independent, post-colonial Côte d’Ivoire resembled a cultural crossroads where the Ivorians’ own voice, or originality and musical specificity, was in short supply. This is also part of what, in all likelihood, forms the basis of the alibi for the quest for an identity of one’s own: Ivoirité – which is at the same time a political struggle/revindication (Bahi <a class="xref bibr" href="#REFe-r-016" data-sectionId="#REFe-r-016"><span class="show-for-sr">Reference Bahi</span>2013</a>).</p><p class="p">This period in Ivorian history saw a particular emphasis on the importance of ‘development’ – a veritable ideology that affected all sectors and ‘compartments’ of society: media for development, journalism for development, culture for development, starting with the education sector for development (cf. the experience of school and out-of-school television). Reflections and debates on the loss of traditional values in favour of Western values, cultural alienation and cultural domination are lively and often corrosive, based on the (Marxist) principle that the culture of the dominant classes is (<em class="italic">de facto)</em> the dominant culture (cf. Touré <a class="xref bibr" href="#REFe-r-199" data-sectionId="#REFe-r-199"><span class="show-for-sr">Reference Touré</span>1981</a>). Ivorian song, still embryonic and weak, seemed to have a compromised future, given that Ivorian youth were expected to lose their (traditional) culture because they were ‘entirely under the yoke of American fashion in terms of music, dance, and sometimes even speech, in a word, the American way of life’ (Ouattara <a class="xref bibr" href="#REFe-r-160" data-sectionId="#REFe-r-160"><span class="show-for-sr">Reference Ouattara</span>1985</a>:84). These reflections on the alienation of the dominant culture, on the influence of African Americans on young Ivorians, in short on the development of the country that had gone astray in the form of westernisation, fit in with the myths, mythologies and contradictory developmentalist imaginary in which the period was immersed. In the mid 1980s, <span class="page-marker"></span>however, alongside this North American influence, Ivorian music was developing at its own pace, incorporating influences from all over.</p><p class="p">Any individual or collective creation is ‘permanently shaped by a collective expectation’, and we can bet that musical artists know how to ‘respond to a society’s horizon of expectations by capturing in a work the latent but active myths of that society’ (Walter 2011:44). However, in the face of well-founded fears and the real risk of losing this ‘traditional’ or ‘authentic’ Ivorian culture, something new came into being: the 1990s were to give rise to new and innovative musical genres (forms), synthetic and ‘syncretic’, such as <em class="italic">ziguéhi</em>, <em class="italic">zoblazo</em>, <em class="italic">zouglou</em>, <em class="italic">zogoda,</em> and so on, which were to be the first to be developed in the Ivorian music scene.</p><p class="p">The 1990s saw the specialisation or ‘thematisation’ of the mass media, and the accentuation of musicalisation. They also saw a new effervescence brought about by the winds of liberalisation blowing around the world, at a time when pop culture and an American ‘counter-culture’ were being globalised, widely exploited, marketed and disseminated across the Atlantic. The role of the mass media in the rise of popular music is fundamental. Radio stations (private commercial radio stations, state radio stations, community radio stations) broadcast a lot of music because they were aimed at young audiences with an appetite for music, and their programmes were adapted to young people’s tastes (Tudesq <a class="xref bibr" href="#REFe-r-201" data-sectionId="#REFe-r-201"><span class="show-for-sr">Reference Tudesq</span>2002</a>:185–186). Ivorian television has also been won over by this musicalisation and is trying to maintain the memory of the music, dance and atmosphere of yesteryear – a past that is ultimately that of colonial times.</p><p class="p">We are therefore also witnessing the emergence of ‘another’ trend. Local music is being translated into Western musical codes. Local rhythms are ‘modernised’ (reconstituted, reconfigured, reinterpreted) and reproduced with modern Western instruments. <em class="italic">Rock’n’roll</em> and <em class="italic">pop</em> music, on the other hand, are sung in local languages and even give rise to local styles. ‘Urban culture differs from village culture in that the city is a place of mixing, contact, exchange, communication and intense cultural production that feeds off village agricultural surpluses’ (Warnier <a class="xref bibr" href="#REFe-r-211" data-sectionId="#REFe-r-211"><span class="show-for-sr">Reference Warnier</span>2007</a>:20). This is so true that the city even exerts an attraction on people, young people in particular; an attraction that has become a social problem addressed by state propaganda (communication).</p></div><div class="sec" id="A-sec-7" data-magellan-destination="A-sec-7"><h3 class="A title"><span class="label">3</span> The <em class="italic">Musicscape</em> of the Multiparty Years </h3><p class="p">The globalisation of the flow of cultural goods favours the creation of popular music. The rise of modern popular music is first and foremost dependent on the network of maritime exchanges and communications on the Atlantic coast of Africa, part of the Euro-American world-system. Taken as a whole, modern <span class="page-marker"></span>popular music appears to be a ‘melting pot of contextual and fluctuating identifications’ (Warnier <a class="xref bibr" href="#REFe-r-211" data-sectionId="#REFe-r-211"><span class="show-for-sr">Reference Warnier</span>2007</a>:9). Thinking about modern popular music requires us to go beyond or abandon the category of ethnicity, of terr(it)oir(e) [of the limitation of the terroir and the delimitation of the territory], of the local (Appadurai <a class="xref bibr" href="#REFe-r-007" data-sectionId="#REFe-r-007"><span class="show-for-sr">Reference Appadurai</span>2001</a>), of the petrified identity, presupposing a homogeneous, sumptuous [luxuriant] and independent (ethnic) culture, threatened with extinction [with disappearance] under the hegemonic (and ‘culturophagous’) effect of Western culture (or, in more contemporary terms, of globalisation).</p><p class="p">By looking inside the ‘spheres of interaction’ or ‘world systems’ (Warnier <a class="xref bibr" href="#REFe-r-211" data-sectionId="#REFe-r-211"><span class="show-for-sr">Reference Warnier</span>2007</a>:23–24) of interconnected communities, we can understand how modern popular music has developed into the <em class="italic">musicscape of</em> today. A concept forged for the purposes of this study, the <em class="italic">musicscape</em> appears both as a component of the <em class="italic">soundscape</em> (Murray Schafer <a class="xref bibr" href="#REFe-r-145" data-sectionId="#REFe-r-145"><span class="show-for-sr">Reference Murray Schafer</span>1979[2010]</a>) and as a sub-category of <em class="italic">mediascapes</em> (Appadurai <a class="xref bibr" href="#REFe-r-007" data-sectionId="#REFe-r-007"><span class="show-for-sr">Reference Appadurai</span>2001</a>). However, it should not imply an idea of statism or obliterate the idea of ‘circulation’. Rather, from now on it should be used to account for this (luxuriant) landscape of ever-mixing genres and styles, and to escape the gaping trap of musical ethnicity.</p><p class="p">Côte d’Ivoire has willy-nilly embraced globalisation, of which the development of cities is one of the effects. The distinction between rural and urban is becoming even less clear-cut, but is still substantial. In many cases, the village remains the place of ontological identification and the first refuge. From this perspective, the Ivorian city, which has undergone an extraordinary transformation, is no longer a ‘foreign cyst’, ‘an island of European modernity in a hostile environment’ (Piermay <a class="xref bibr" href="#REFe-r-167" data-sectionId="#REFe-r-167"><span class="show-for-sr">Reference Piermay</span>2003</a>:45). It is undergoing continuous change, but this does not mean that it is losing its links with the village. On the contrary, complex relationships are being established between the rural and urban worlds, between the city and the village of origin, and in this in-between area, people are ‘developing complex strategies to make the most of various opportunities’ (Piermay <a class="xref bibr" href="#REFe-r-167" data-sectionId="#REFe-r-167"><span class="show-for-sr">Reference Piermay</span>2003</a>:40). The city is therefore no longer seen as a predator or destroyer of African society, but as one of the places where it is constructed, in short from the point of view of the significant role it plays in the (re)production of society [of the social] (Piermay <a class="xref bibr" href="#REFe-r-167" data-sectionId="#REFe-r-167"><span class="show-for-sr">Reference Piermay</span>2003</a>:35). The (African) city is a lush environment, and its actors reflect its changes, challenges and diversity (Piermay <a class="xref bibr" href="#REFe-r-167" data-sectionId="#REFe-r-167"><span class="show-for-sr">Reference Piermay</span>2003</a>:40): ‘Formal and informal, modernity and heritage, Western technology and witchcraft, etc., all play a complex role in the construction of the African city’ (Piermay <a class="xref bibr" href="#REFe-r-167" data-sectionId="#REFe-r-167"><span class="show-for-sr">Reference Piermay</span>2003</a>:42). Despite all kinds of difficulties, the city remains a place of contact and exchange: a place of hybridisation, ingenuity and invention – a place of creation (creativity), where the unprecedented (the new, the unexpected) and the unusual (the bizarre, the baroque) emerge. The very creation of music is linked to the city: ‘Music depends on the city, its moods and its scenes of life; it is like a second life of the <span class="page-marker"></span>city; it captures and interprets the whims, trends, fashions and customs that develop in the city, translating them into its own language’ (Gondola <a class="xref bibr" href="#REFe-r-089" data-sectionId="#REFe-r-089"><span class="show-for-sr">Reference Gondola</span>2003</a>:112).</p><p class="p">The musical milieu is seen as one of these teeming fields, and music is part of these bricolages, these links and these opportunities in a city that is seen here ‘in terms of invention, that is to say, of unexpected and baroque assemblages that make it possible to provide a response to the innumerable problems encountered’ (Piermay <a class="xref bibr" href="#REFe-r-167" data-sectionId="#REFe-r-167"><span class="show-for-sr">Reference Piermay</span>2003</a>:45). The unexpected developed in this teeming environment. The modernisation sought by the fathers of independence accelerated, bringing with it industrialisation, cultural industries, and a distinction between cultivated culture and popular culture (Caune <a class="xref bibr" href="#REFe-r-052" data-sectionId="#REFe-r-052"><span class="show-for-sr">Reference Caune</span>1995</a>), opposing a westernised, ‘modern’ culture on the one hand and a ‘traditional’ African culture on the other, determining the manufacture and market of cultural products. The rise of the mass media has led to the popularisation and massification of music. The trend towards the musicalisation of radio has been accentuated by the specialisation of this medium. This musicalisation has also taken hold on television, which has also been affected by the beginnings of ‘thematisation’, while being reinforced by dance and music videos. Music is now seen as a commodity, viewed from a marketing perspective with hyperspecialised agents embedded in a complex (commercial) economic system.</p><p class="p">With the reintroduction of a multiparty system in 1990, the freedom of speech also liberated popular song. The ‘galère’, the horizontality of misery, was no longer hidden away, but sung and broadcast over the airwaves. <em class="italic">Zouglou was</em> born of a synthesis of local rhythms, while taking up the traditional singer’s role as truth-teller, conscientious objector, ideological and moral sentinel of society.</p><p class="p">The aspirations and needs of these young people have exploded – increased – in the space of two generations. The liberalisation brought about by the introduction of a multi-party system and the development of the media have, in theory, made it possible for young people to express themselves. For all that, the habits inherited from three decades of a single party did not suddenly change. This decade, the dawn of the third millennium, also saw the emergence of a consumer society and major political tensions. The combined effects of the (neo)liberal economic option and democratisation are reflected in the current diversity of music in Côte d’Ivoire. Modern urban popular music is developing and becoming more democratic. Modern popular music is increasingly asserting itself as a media form – as a medium understood here in a broad sense (Weaver <a class="xref bibr" href="#REFe-r-214" data-sectionId="#REFe-r-214"><span class="show-for-sr">Reference Weaver, Shannon and Weaver</span>1949</a>:95), fulfilling the same functions as other, more ‘classical’ urban media.</p><p class="p">The 2000s were certainly the years when <em class="italic">zouglou</em> exploded onto the national scene. At the same time, criticism became more open, protest became more explicit and grumbling became more thunderous. <em class="italic">Zouglou was not the</em> only music to speak out. Reggae preceded it, albeit in a more allusive tone, by taking <span class="page-marker"></span>the liberty of questioning political leaders about the political drift of Ivorian politics. Popular music has been marked by the Ivorian crisis, particularly the paroxysmal one that erupted in September 2002 (Bahi <a class="xref bibr" href="#REFe-r-017" data-sectionId="#REFe-r-017"><span class="show-for-sr">Reference Bahi and Akindès</span>2011</a>). More than ever, the figure of the popular singer as political flagship is taking shape.</p><p class="p">Meanwhile, the <em class="italic">Disc Jockey</em> (DJ) phenomenon, made possible by the combined effect of advances in music technology, the spread of the internet and globalisation, is spreading throughout Côte d’Ivoire among musicians and technicians. Ivorian DJs, also following the global movement and spreading to Côte d’Ivoire, are leaving the maquis or <em class="italic">nightclubs</em> they used to run to make their own albums (audio phonic cassettes and compact discs) and give shows and live concerts, thus becoming artists in their own right, veritable <em class="italic">show business</em> stars.</p><p class="p">The 2000s also saw the explosion of the coupé décalé phenomenon which, like disco, is dance music for fun, where the only thing that counts is the ‘<em class="italic">show</em>’, the ‘atmosphere’, the hedonism, the ‘racket’, and so on (Kolé <a class="xref bibr" href="#REFe-r-109" data-sectionId="#REFe-r-109"><span class="show-for-sr">Reference Kolé</span>2023</a>). He seems to be deliberately turning his back on a ‘tradition’ of Ivorian (or even African) singers that seems to have its origins in traditional music, leaving aside the function of ‘ideological and moral sentinel’ (Wondji <a class="xref bibr" href="#REFe-r-219" data-sectionId="#REFe-r-219"><span class="show-for-sr">Reference Wondji and Wondji</span>1986b</a>), and does not consider consciousness-raising to be important. Music is no longer intentionally a medium for delivering educational, moralising and other messages.</p><p class="p">Many musical genres are doomed to an ephemeral existence. Against all the odds, <em class="italic">coupé décalé</em> seems to be settling in, forming with <em class="italic">reggae</em> and <em class="italic">zouglou</em> the troika of modern Ivorian popular music. <em class="italic">Coupé décalé</em> even completes the affirmation of a young music and (sub)culture. The deaths of its messianic figures – Douk Saga, the founder, and DJ Arafat, the emblematic figure – were presented by the media and experienced by many young people as national mourning.</p><p class="p">‘Rurbanity’ and ‘glocality’, because they combine to give rise to new cultural forms and practices, are at the beginning and the end of the phenomenality of modern popular music. Modern popular music radiates with the unfolding urban space and the changing world of mixing and exchange. It does not develop in a vacuum, but according to a principle of cultural and political transformation that includes circulatory movements of people, ideas and objects between African and American creative centres (Feld <a class="xref bibr" href="#REFe-r-079" data-sectionId="#REFe-r-079"><span class="show-for-sr">Reference Feld</span>1988</a>) and, more broadly, from Africa to the (rest of) the world via its diaspora and vice versa (Zeleza <a class="xref bibr" href="#REFe-r-224" data-sectionId="#REFe-r-224"><span class="show-for-sr">Reference Zeleza</span>2005</a>: 220; Gilroy <a class="xref bibr" href="#REFe-r-084" data-sectionId="#REFe-r-084"><span class="show-for-sr">Reference Gilroy</span>2010</a>; Martin <a class="xref bibr" href="#REFe-r-130" data-sectionId="#REFe-r-130"><span class="show-for-sr">Reference Martin and Bob</span>2012</a>).</p><p class="p">During the single party era, the <em class="italic">mass media</em> (notably radio and television) played a decisive role in promoting Ivorian music. As part of their public service remit, they programmed musicians from all regions of the country, out of a concern for regional cultural balance and respect for Côte d’Ivoire’s cultural diversity. They have been able to serve as a launch pad for young talents such as Alpha Blondy.</p><p class="p"><span class="page-marker"></span>As a living art form, music appealed to audiences because it met their aspirations and expectations, but also and above all because of its ability ‘to draw on local or regional heritage, integrating external contributions including those of colonisation, and indebted to ‘imagination, rural exodus and the influences of international media’ (Doua <a class="xref bibr" href="#REFe-r-068" data-sectionId="#REFe-r-068"><span class="show-for-sr">Reference Doua</span>2009</a>:6). This is what terms such as ‘tradi-moderne’ or ‘afropop’ refer to. The latter sometimes refers to contemporary African popular music, or African pop. It is characterised by a fusion of American and African popular music, sounds and dances. The artist-musician Meiway is a perfect illustration of this. But in reality, these names hide a major difficulty in characterising musical genres and styles. Pablo de Gokra, for example, follows in the footsteps of Amédée Pierre, who in turn follows in the footsteps of the ‘traditional’ singer <em class="italic">tohourou</em>.</p><p class="p">If we go back as far as possible in the history of Côte d’Ivoire, we can see that the development (expansion, amplification, growth) of modern popular music (including urban music) was made possible by maritime trade in the context of urban development. The COVID-19 pandemic demonstrated the weaknesses (vulnerability) of sub-Saharan African cities, with their somewhat chaotic urbanisation, uneven infrastructure and lush informal settlements. But this period was also a good one for music on the Internet, as demonstrated by the <em class="italic">Jerusalema</em> phenomenon that has conquered the planet. Modern popular music is therefore emerging from a lush urban culture, while at the same time being dependent on technological inventions and innovations in the world of music itself, and in the mass media and (tele)communications in general. Its industrial production and distribution is amplified by the effects of globalisation. Marketing segmentations – such as <em class="italic">world music</em>, ‘urban music’, etc. – do not seem to be very productive for grasping the abundance and complexity of modern popular music.</p><p class="p">The analysis of popular music generally remains dependent on a very fixed approach to the largely dominant colonial reality. Colonialism itself caricatured the differences and reinforced the borders (initially physical when it did not create them) between peoples in the imagination. But the cultural links between peoples have not changed as a result of this caricatured structuring of differences between peoples. The conditions for the deployment of modern popular music are captured in the pairs of tensions local/global and urban/rural, which are subsumed in the glocal/rural pair. We need to take account of the consequences of globalisation, including democratisation, the opening up of societies, their trans-locality and so on. The current <em class="italic">musicscape</em> is therefore the result of interactions (between) town and country, and not of a rupture between the two, but of a labile and productive rurbanity on the one hand. At the same <span class="page-marker"></span>time, on a (much) more macro scale, it is the product of the global/local tension, whose respective feedback loops produce effects on both the local and the global, and which the neologism ‘glocal’ attempts to capture.</p><p class="p">Before analysing popular music as an act of cultural mediation, it is important to analyse the forms and acts of communication (mediation) that occur within it, and to pay particular attention to the processes of identification and social belonging that are at work. But first, it seems desirable and necessary to enter the world of Ivorian music, to infiltrate the places and figures of its production in order to understand how this medium functions.</p></div><div class="sec" id="A-sec-8" data-magellan-destination="A-sec-8"><h3 class="A title"><span class="label">4</span> Poietics of Musical Art in Abidjan </h3><p class="p">This chapter examines the ‘making’ (or ‘creation’) of music by ‘young’ musicians aspiring to stardom on the basis of in situ observations in performance venues (recording studios). Drawing firmly on the work of Jean-Pierre Warnier (<a class="xref bibr" href="#REFe-r-211" data-sectionId="#REFe-r-211"><span class="show-for-sr">Reference Warnier</span>2007</a>) and Victor Turner (<a class="xref bibr" href="#REFe-r-204" data-sectionId="#REFe-r-204"><span class="show-for-sr">Reference Turner</span>1988</a>, <a class="xref bibr" href="#REFe-r-205" data-sectionId="#REFe-r-205"><span class="show-for-sr">Reference Turner</span>1969[1997]</a>), it follows as far as possible the lineaments of the poietics or fabrication of popular music in order to grasp the springs of originality and/or authenticity. The topical object of poietics in art is strictly the study of the process of creating the work: ‘Poietics is less concerned with the artist’s affects than with the dynamic lineaments, voluntary or involuntary, that link him to the work in progress. In short, its object is the <em class="italic">poiesis</em> that confronts the creator with his project, and not the <em class="italic">aisthesis</em> that he may experience in his action, or arouse by it’ (Passeron <a class="xref bibr" href="#REFe-r-164" data-sectionId="#REFe-r-164"><span class="show-for-sr">Reference Passeron</span>1999</a>:269–270).</p><p class="p">Creative behaviour presupposes the acquisition of knowledge and know-how, and requires the investment of physical space and the use of devices and technical and technological artefacts. The aim of the poietic study is therefore first and foremost to identify the ‘techniques’, the ‘poietic strategies’ that have guided the making of the work (Molino <a class="xref bibr" href="#REFe-r-142" data-sectionId="#REFe-r-142"><span class="show-for-sr">Reference Molino</span>2009</a>; Nattiez <a class="xref bibr" href="#REFe-r-146" data-sectionId="#REFe-r-146"><span class="show-for-sr">Reference Nattiez</span>2009</a>) and to identify the compositional ‘ideas’, the harmonic structures (the chords), the tools (instruments, digital interfaces, computer, etc.), the work in rehearsal, in the studio, and so on. In short, it is a question of keeping track of the ‘techniques’, the ‘poietic strategies’ that have guided the making of the work (Molino <a class="xref bibr" href="#REFe-r-142" data-sectionId="#REFe-r-142"><span class="show-for-sr">Reference Molino</span>2009</a>; Nattiez <a class="xref bibr" href="#REFe-r-146" data-sectionId="#REFe-r-146"><span class="show-for-sr">Reference Nattiez</span>2009</a>). In short, it’s a question of taking into account ‘everything that was important (material, technical, procedural, relational, communicational, somatic, mental, imaginary, fantastical, etc.) for the creator(s) at the moment of creating the work’ (Forest <a class="xref bibr" href="#REFe-r-080" data-sectionId="#REFe-r-080"><span class="show-for-sr">Reference Forest</span>2013</a>:12). In short, we are talking about a whole range of elements that are necessary for musical practices and the making of modern popular music, and which condition the skills and performances (performativity) of the creative process and creation itself. Whatever the type of artistic practice, poietics is understood as ‘an experiential approach to the dynamic processes at work in <span class="page-marker"></span>the creation of a work’ (Paillé <a class="xref bibr" href="#REFe-r-162" data-sectionId="#REFe-r-162"><span class="show-for-sr">Reference Paillé</span>2004</a>:11). Poietics therefore refers us to a kind of anthropology of creation – of artistic production – that focuses more on the relationship between the artist and his work than on the artist himself, in his creative space (studio, rehearsal room, etc.) and his experience of this (these) space(s) (Goffman <a class="xref bibr" href="#REFe-r-088" data-sectionId="#REFe-r-088"><span class="show-for-sr">Reference Goffman</span>1991</a>). This requires the researcher (i) to take an interest in the acquisition of artistic and musical knowledge (and know-how), that is, in training, and (ii) to enter the music-making workshop, because ‘in truth the place of art is first and foremost the workshop’ (Passeron <a class="xref bibr" href="#REFe-r-164" data-sectionId="#REFe-r-164"><span class="show-for-sr">Reference Passeron</span>1999</a>:274).</p><p class="p">Another aspect of the history and transformation of modern popular music in Côte d’Ivoire is thus outlined. The historicisation of amplified popular music is a difficult undertaking because, in addition to the lack of reliable sources, it is undermined by the (marketing) cleavages of genres, the journalistic expertise of music critics, the territorial divisions of academic research and interdisciplinary ‘competition’ (Gibert & Leguern <a class="xref bibr" href="#REFe-r-083" data-sectionId="#REFe-r-083"><span class="show-for-sr">Reference Gibert and Leguern</span>2008</a>). Indeed, ‘the workshop, studio or mixing room are places that are as physical as they are mental, material as they are experiential, technical as they are aesthetic’ (Forest <a class="xref bibr" href="#REFe-r-080" data-sectionId="#REFe-r-080"><span class="show-for-sr">Reference Forest</span>2013</a>:9). These contemporary creators of popular music are attentive to their popular African heritage. They create with a compositional ethos that values, respects and even venerates this heritage. While admitting foreign influences, the quest for originality does not radically change this heritage (Agawu <a class="xref bibr" href="#REFe-r-003" data-sectionId="#REFe-r-003"><span class="show-for-sr">Reference Agawu</span>2016</a>:206, 295).</p><p class="p">Making music also requires equipment and infrastructure. The Ivorian music scene is characterised by a lack of musical infrastructure and a shortage of musical instruments and accessories. Many musicians, apart from the fact that they have few financial resources, are faced with questions that are difficult to resolve: where can they find guitar strings, bass strings, drumsticks, drum heads, and other parts at reasonable prices? Where and how can you get good instruments (well-made and fair) at a good price? Apart from Catholic or evangelical churches, and the rare orchestras that are subsidised or financed by patrons, and which make instruments of various qualities available to musicians, it’s a case of finding your own way – and that starts with training.</p><p class="p">Bergson (<a class="xref bibr" href="#REFe-r-036" data-sectionId="#REFe-r-036"><span class="show-for-sr">Reference Bergson</span>1936</a>) thought that the artist is capable of perceiving, and in a way translating, what the <em class="italic">vulgum pecus</em> cannot always grasp. In the Bété worldview (for example), precociousness is perfectly understandable, because art, and music in particular, is considered to be a gift and is innate; it runs in the family, so to speak, and the artist is predestined (Séry <a class="xref bibr" href="#REFe-r-190" data-sectionId="#REFe-r-190"><span class="show-for-sr">Reference Séry</span>2015</a>:53, 102). But the artist’s technical training, whether inherited or received from a master, remains important and necessary. This is how the ‘traditional’ griot has survived the centuries and adapted to social change (Niane <a class="xref bibr" href="#REFe-r-150" data-sectionId="#REFe-r-150"><span class="show-for-sr">Reference Niane</span>1960</a>; Laye <span class="page-marker"></span><a class="xref bibr" href="#REFe-r-122" data-sectionId="#REFe-r-122"><span class="show-for-sr">Reference Laye</span>1978</a>; Sadji <a class="xref bibr" href="#REFe-r-183" data-sectionId="#REFe-r-183"><span class="show-for-sr">Reference Sadji</span>1985</a>; Cissé & Kamissoko <a class="xref bibr" href="#REFe-r-053" data-sectionId="#REFe-r-053"><span class="show-for-sr">Reference Cissé and Kamissoko</span>1988</a>; Camara <a class="xref bibr" href="#REFe-r-049" data-sectionId="#REFe-r-049"><span class="show-for-sr">Reference Camara</span>1992</a>). The <em class="italic">djuésrofouè</em><a class="xref footnote" href="#FN-fn-1" data-sectionId="#FN-fn-1"><span class="show-for-sr">Footnote </span><sup class="sup">1</sup></a> rhapsode baoulé (Tonton Etienno), the aède sénoufo (Zélé de Papara) or even the <em class="italic">tohourou</em><a class="xref footnote" href="#FN-fn-2" data-sectionId="#FN-fn-2"><span class="show-for-sr">Footnote </span><sup class="sup">2</sup></a> chansonnier bété, often presented as ‘traditional’, are in fact relatively recent inventions (Hobsbawm <a class="xref bibr" href="#REFe-r-101" data-sectionId="#REFe-r-101"><span class="show-for-sr">Reference Hobsbawm, Hobsbawm and Ranger</span>2006[2012]</a>) – that is, from the colonial period. These recently developed ‘traditions’ now seem centuries old, producing an effect of myth and false continuity with the past, when in reality they are more akin to dissidence from that past.</p><p class="p">The Baule chansonnier uses (or even makes) his <em class="italic">kpaniglo</em>, a tetrachord guitar imitated from the Western guitar – itself introduced into Africa by the Portuguese probably in the fifteenth century and fairly widespread in French West Africa towards the end of the nineteenth century (among others by <em class="italic">Krus</em> sailors). The first guitars and phonographs were introduced in Côte d’Ivoire at the beginning of the twentieth century: phonographs in particular were introduced between 1930 and 1940, and guitars from the 1940s onwards (Mazzoleni <a class="xref bibr" href="#REFe-r-134" data-sectionId="#REFe-r-134"><span class="show-for-sr">Reference Mazzoleni</span>2010</a>). In this way, something new was created, like the naïfs (in the visual arts) inspired by this traditional world that changed so abruptly with colonisation, rather like the movie <em class="italic">Les maîtres fous</em> (<em class="italic">The Mad Masters</em>) (Rouch <a class="xref bibr" href="#REFe-r-179" data-sectionId="#REFe-r-179"><span class="show-for-sr">Reference Rouch</span>1955</a>) who, through this representation, reflected the new ‘civilisation’ that was taking hold.</p><p class="p">The heritage is identifiable in the musical (poietic) work itself. The musical poietic process is linked to the musician’s training (initial and ongoing). Training (initial and ongoing), by transmitting the musician’s own musical <em class="italic">technique</em> and practice, contingent on his imagination and creative capacities, determines [limits or liberates, restricts or extends] his poietic work. Here, orality and various modes of learning rub shoulders and intermingle (Diawara <a class="xref bibr" href="#REFe-r-063" data-sectionId="#REFe-r-063"><span class="show-for-sr">Reference Diawarra, Röschenthaler and Diawarra</span>2015</a>).</p><p class="p">The apprentice musician has to face various obstacles before entering the world of music. Among the first means and places of musical training and apprenticeship are certainly the brass bands or military band orchestras. Local brass bands were probably among the first attempts to translate African music into Western musical codes, Western harmony and Western tempered instruments (Dagri <a class="xref bibr" href="#REFe-r-058" data-sectionId="#REFe-r-058"><span class="show-for-sr">Reference Dagri</span>2019a</a>). At the very beginning of the 1960s, the Régie Abidjan-Niger (RAN) music school attended by the children of expatriates and those of the local bourgeoisie had a certain importance in the musical training of Ivorians (Goran <a class="xref bibr" href="#REFe-r-091" data-sectionId="#REFe-r-091"><span class="show-for-sr">Reference Goran</span>2011</a>; Ouattara & Lasme <a class="xref bibr" href="#REFe-r-161" data-sectionId="#REFe-r-161"><span class="show-for-sr">Reference Ouattara and Lasme</span>2016</a>; Kanga & Goran <a class="xref bibr" href="#REFe-r-103" data-sectionId="#REFe-r-103"><span class="show-for-sr">Reference Kanga and Goran</span>2017</a>). The National Arts Institute (INA), created in 1965, took over musical training (especially classical). Later, it was to play a certain role in Ivorian musical production, particularly in the translation of local music, as well as in the consumption of this music.</p><p class="p">However, its impact on the development of music in Côte d’Ivoire remained limited for a long time, insofar as the secondary school music teachers trained in <span class="page-marker"></span>classical music by this establishment were transferred to schools and had few resources or opportunities for instrumental practice. They were content mainly with theoretical lessons, the results of which had little effect on their pupils’ schooling. The creation of an (African?) musicology department at the Institut national des arts (INA) in 1984 made it possible to train music education teachers (rather than musicians) for teaching in state schools. Indeed, music education is that ‘discipline which deals, on the one hand, with the teaching and learning of music and, on the other, with education in the social and cultural aspects of the sound code and noises in our world today’ (Kanga & Goran <a class="xref bibr" href="#REFe-r-103" data-sectionId="#REFe-r-103"><span class="show-for-sr">Reference Kanga and Goran</span>2017</a>:49).</p><p class="p">Apart from modern music schools and conservatoires, many musicians often learn music ‘on the job’, intuitively, in an oral tradition where imitation reigns supreme (Titon <a class="xref bibr" href="#REFe-r-197" data-sectionId="#REFe-r-197"><span class="show-for-sr">Reference Titon and Bauman</span>1992</a>:168). For those who have the means, the Internet, particularly through educational capsules, is playing an increasingly important role in training. In an amateur-style apprenticeship (Flichy <a class="xref bibr" href="#REFe-r-077" data-sectionId="#REFe-r-077"><span class="show-for-sr">Reference Flichy</span>2010</a>), they can acquire a few rudiments of organology, elements of theory, musical practice and a degree of technical skill or even virtuosity. These young musicians, ‘neophytes’ in a liminal phase (Van Gennep <a class="xref bibr" href="#REFe-r-206" data-sectionId="#REFe-r-206"><span class="show-for-sr">Reference Van Gennep</span>1909[1981]</a>:14, 27), are on the threshold of the musical field, in a situation of profane ‘liminality’ (Turner <a class="xref bibr" href="#REFe-r-205" data-sectionId="#REFe-r-205"><span class="show-for-sr">Reference Turner</span>1969[1997]</a>:96–97) and, as ‘liminal entities’, are subject, if not to the authority of the community, at least to that of a mentor. This means that musical training, both theoretical and practical, is often rudimentary or even non-existent if we consider the music school institution. Self-taught, then, learning on the job, knowing at best how to follow a ‘grid’, their real school is made up of listening to the genres and successes of their favourite musicians, ‘tips’ [or <em class="italic">‘topos’</em> or <em class="italic">‘plans’</em>] taken from professional musicians, or musicians they consider more advanced than themselves.</p><p class="p">Musical training was often acquired on the job ‘in the street’ from another DIY enthusiast. ‘The bricoleur addresses a collection of residues of human works, in other words, a subset of culture’ (Lévi-Strauss <a class="xref bibr" href="#REFe-r-125" data-sectionId="#REFe-r-125"><span class="show-for-sr">Reference Lévi-Strauss</span>1962</a>:29). As for the artist, ‘he is both a scholar and a bricoleur’ (Lévi-Strauss <a class="xref bibr" href="#REFe-r-125" data-sectionId="#REFe-r-125"><span class="show-for-sr">Reference Lévi-Strauss</span>1962</a>, 33). This bricolage is not specific to Côte d’Ivoire or to Ivorian musicians. Rather, it seems to us to be a worldwide or globalised phenomenon that in truth reflects amateurism, if not on the increase, at least more visible and triumphant, facilitated by the democratisation of technology (Flichy <a class="xref bibr" href="#REFe-r-077" data-sectionId="#REFe-r-077"><span class="show-for-sr">Reference Flichy</span>2010</a>). One of the consequences of their limited musical training is that these musicians have a restricted and relatively closed (inward-looking) harmonic and melodic universe. This did not prevent virtuosos from appearing in their ranks. During this liminal period, a spirit of friendship developed between them. The fact that they sometimes frequent the same places of worship reinforces the spirit of camaraderie and confraternity as a prelude to full entry into the musical field and full participation in the community of musicians.</p><p class="p"><span class="page-marker"></span>Music is one of those arts that you learn as you practice. There are many different places to learn, including all the places where the initiator and the initiate can put themselves in a learning situation. These spaces range from the private sphere (the bedroom) to rehearsal rooms (private paying rooms, churches, private homes, improvised spaces), recording studios and young musical groups. These youth music groups function like groups (‘small groups’) of young people or teams of artists (in this case budding artists) and, as such, are ‘microscopic shelters’, cemented together by music, where the individual, the young neophyte musician, as an individual, will play out (or commit) his or her life.</p><p class="p">The modern folk music in question here is fundamentally unwritten. It is an oral tradition on at least two levels: (i) at the level of sources of inspiration, ancient unwritten ‘folk’ music (Zadi <a class="xref bibr" href="#REFe-r-222" data-sectionId="#REFe-r-222"><span class="show-for-sr">Reference Zadi</span>1977</a>); (ii) at the level of learning ‘by word of mouth’, by direct imitation; (iii) at the level of performance or interpretation of musical pieces, where the ear and memory – reproduction <em class="italic">a memoria –</em> play a key role. They can then develop an expertise in the genres and stars they adore and imitate. Since the elements collected and used by DIY artists are ‘pre-stressed’ (Lévi-Strauss <a class="xref bibr" href="#REFe-r-125" data-sectionId="#REFe-r-125"><span class="show-for-sr">Reference Lévi-Strauss</span>1962</a>:29) and their possibilities (harmonic or even instrumental) are limited, (successful) transgression is always a sign, if not of innovation, at least of originality and the signal of a fashion, however ephemeral. Given their musical training, these singing musicians often have a DIY approach. Here the term ‘bricolage’ is used both from a theoretical (solfeggio, music theory, harmony, organology, music history, etc.) and a practical (instrumental practice and technique) point of view to describe these musically ‘illiterate’ artists – when they are not illiterate in the literal sense (Séry <a class="xref bibr" href="#REFe-r-190" data-sectionId="#REFe-r-190"><span class="show-for-sr">Reference Séry</span>2015</a>). They make do with what they have, ‘getting by’ as they put it themselves.</p><p class="p">The development of modern popular music in Côte d’Ivoire also depends on ‘religious’ music. Of course, the INA and then the INSAAC (Institut national supérieur des arts et de l’action culturelle) trained many musicians for secondary schools and churches. But we must also take into account the important role played by the churches (Catholic, Protestant, Harrist, Evangelical, Pentecostal) themselves, particularly in instrumental practice, as well as in choral singing and choir training. Personal initiatives (individual or collective) by music teachers also play a part in this musical training. Until relatively recently, the (Catholic) Church extolled the beauty of liturgical chant, which was necessarily Western. It decried African worship practices and disparaged local cultural values. It was after the Second Vatican Council (1965) that ‘religious’ (Catholic) music became Africanised with the arrival of drums and clicks. Pressed onto CDs, it will be added to secular music – music for secular use – even if God is being sung. For many musicians, those looking for an outlet other than that of ‘college music teacher’, church services, ‘crusades’ and evangelisation campaigns serve to play for God (‘to give thanks’) but are also opportunities to ‘perform’ .</p><p class="p"><span class="page-marker"></span>It’s difficult to learn music without making it. Making music presupposes performance, and presupposes the ideas of realisation and behaviour (conduct): it is the (concrete) implementation of (technico-)musical (and ‘para-musical’) competence in the production of musical statements. This performance, as an act of communication and/or accomplishment (Bauman <a class="xref bibr" href="#REFe-r-030" data-sectionId="#REFe-r-030"><span class="show-for-sr">Reference Bauman and Bauman</span>1992</a>:44), is most evident in rehearsal and performance or spectacle (Schechner <a class="xref bibr" href="#REFe-r-185" data-sectionId="#REFe-r-185"><span class="show-for-sr">Reference Schechner</span>2008</a>, <a class="xref bibr" href="#REFe-r-186" data-sectionId="#REFe-r-186"><span class="show-for-sr">Reference Schechner</span>1985</a>; Béhague <a class="xref bibr" href="#REFe-r-034" data-sectionId="#REFe-r-034"><span class="show-for-sr">Reference Béhague and Bauman</span>1992</a>:177). Self-education plays an important role in the itineraries of young musicians.</p></div><div class="sec" id="A-sec-9" data-magellan-destination="A-sec-9"><h3 class="A title"><span class="label">5</span> Tribality and Network Logic </h3><p class="p">Musical poetics necessarily involves ‘making music’ (Schütz <a class="xref bibr" href="#REFe-r-187" data-sectionId="#REFe-r-187"><span class="show-for-sr">Reference Schütz</span>2007</a>; Agawu <a class="xref bibr" href="#REFe-r-003" data-sectionId="#REFe-r-003"><span class="show-for-sr">Reference Agawu</span>2016</a>:4), and ideally presupposes a grasp, through social relations and anthropo-logics (Balandier <a class="xref bibr" href="#REFe-r-024" data-sectionId="#REFe-r-024"><span class="show-for-sr">Reference Balandier</span>1974[1985]</a>), of the relationships of ‘syntony’ but also of tension and negotiation in the activities that, performed together by the actors in space and time, are at the heart of the creative process. We are in the middle of ‘musical communication’, in the heart of the machinery and the making of popular music. So we can understand how popular music is made as an art form, and grasp the role of technology in the creative process by starting to understand how it is transmitted. Music is one of those ephemeral material forms whose mode of transmission is oral and relies primarily on memory (auditory and visual) even if, in reality, ‘different modes of cultural transmission adapt to different forms of legitimation’ (Rowlands <a class="xref bibr" href="#REFe-r-182" data-sectionId="#REFe-r-182"><span class="show-for-sr">Reference Rowlands</span>1993</a>:150). It is here that secrecy and ambiguity, whether intended or not by the master who delivers his teaching, creep in.</p><p class="p">Indeed, (musical) art, as the product of collective action, requires its agents to collaborate in the creation of works. This collaboration is possible because the agents share common presuppositions, conventions and so on. When such cooperation occurs repeatedly and even habitually between the same individuals, or individuals who are sufficiently similar to be considered identical, we can speak of the existence of ‘an art world’ (Becker <a class="xref bibr" href="#REFe-r-033" data-sectionId="#REFe-r-033"><span class="show-for-sr">Reference Becker</span>1988</a>[2006]:99). The expression art world refers to ‘the network of all those whose activities, coordinated through a common knowledge of conventional means of work, contribute to the production of the very works that make the art world famous’ (Becker <a class="xref bibr" href="#REFe-r-033" data-sectionId="#REFe-r-033"><span class="show-for-sr">Reference Becker</span>1988</a>[2006]:22). In practice, the makers and users of these works ‘have mutually adapted their practices, so that the organisation of production and use remains, for a time, a stable unit, a <em class="italic">world</em>’ (Becker <a class="xref bibr" href="#REFe-r-032" data-sectionId="#REFe-r-032"><span class="show-for-sr">Reference Becker</span>2009</a>:22). Understanding the making of music therefore involves analysing the organisational aspects, processes, logics, norms and values, recipients, networks, alliances and conflicts, and imaginary worlds at work in this specific world of musical art (Becker <a class="xref bibr" href="#REFe-r-032" data-sectionId="#REFe-r-032"><span class="show-for-sr">Reference Becker</span>2009</a>:22–30).</p><p class="p"><span class="page-marker"></span>Intuitive marketing based on a certain idea of public tastes and expectations also guides the manufacture of ‘products’. The ‘Ivorian’ art world, made up of identifiable sub-groups, ‘<em class="italic">tribes</em>’, micro-groups, communities of emotion endowed with ethics and aesthetics, and which are part of a neo-tribalism ‘characterised by fluidity, occasional gatherings, scattering’ (Maffesoli <a class="xref bibr" href="#REFe-r-129" data-sectionId="#REFe-r-129"><span class="show-for-sr">Reference Maffesoli</span>1988</a>:116). This tribality – <em class="italic">reggae</em>, <em class="italic">zouglou</em>, <em class="italic">Rn’B-jazz</em>, <em class="italic">rap</em>, <em class="italic">coupé décalé,</em> etc. – conceals the idea of ‘tribal art’ and more or less implies (at the cost of a great simplification) ‘a relationship between the social, the aesthetic and the temporal’. Admittedly, the identity dimensions of individuals and communities are complex and contrasting. There are ‘continuities and values of artists in a given locality between arts of different periods and media’. (Picton <a class="xref bibr" href="#REFe-r-166" data-sectionId="#REFe-r-166"><span class="show-for-sr">Reference Picton</span>1992</a>:28). We can ask with W. Fagg (quoted by Picton): ‘how does this or that configuration of form relate to this or that social grouping in this or that temporal framework?’ Heuristically, each ‘(neo-)tribe’ has or constructs its own artistic universe (including dance, clothing, but also body art, graphic and pictorial arts, etc. – in short, an ethos and an aesthetic). However, despite this ‘tribality’, there are one or more links between these sub-cultures and a certain mobility (of musicians and technicians) is at work in this teeming milieu. In this world of resourcefulness, where survival is paramount, interactions between individuals (musicians, arrangers, producers, etc.) form links, connections, networks that are never definitive, but always in flux.</p><p class="p">Abidjan favours the mixing of popular and cultural musical genres and forms. As a result of the very settlement of the city, whether by rural dwellers or nationals of other colonies, certain neighbourhoods became places of relocation during the colonial period (Balandier <a class="xref bibr" href="#REFe-r-023" data-sectionId="#REFe-r-023"><span class="show-for-sr">Reference Balandier</span>1985</a>, <a class="xref bibr" href="#REFe-r-025" data-sectionId="#REFe-r-025"><span class="show-for-sr">Reference Balandier</span>1957</a>; Rouch <a class="xref bibr" href="#REFe-r-176" data-sectionId="#REFe-r-176"><span class="show-for-sr">Reference Rouch</span>1967</a>, <a class="xref bibr" href="#REFe-r-178" data-sectionId="#REFe-r-178"><span class="show-for-sr">Reference Rouch</span>1959</a>). This trend continued and was accentuated later with the rural exodus and immigration. This new situation demystifies and renders obsolete the physical and spatially limited geographical notion of ‘<em class="italic">home</em>’, of terroir – <em class="italic">ipso facto</em> widening the question of citizenship, ethnic belonging, social ties, even the social and national imaginary, the nation – Abidjan thus becomes “<em class="italic">a home away from home</em>” for Syrian-Lebanese, Senegalese, French, Burkinabe, Nigerians, Cameroonians, and so on.</p><p class="p">The Bété <em class="italic">tohourou</em> or the Baoulé chansonnier are modern musicians – an endogenous modernity. It is this modernity (or modernisation) that the somewhat ‘essentialist’ notion of ‘tradi-moderne’ (Kua-Nzambi Toko <a class="xref bibr" href="#REFe-r-116" data-sectionId="#REFe-r-116"><span class="show-for-sr">Reference Kua-Nzambi Toko</span>2018</a>) seeks to capture by presupposing that traditional and modern are fixed (or even pure) entities. Traditional music is neither anchored in a cultural latency, nor frozen in a traditional customary pastism, paralysed by its mode of conservation and transmission. Traditional music is part of ‘culture-translation’. But this is not ‘the identical reproduction of a set of fixed habits’ (Warnier <a class="xref bibr" href="#REFe-r-211" data-sectionId="#REFe-r-211"><span class="show-for-sr">Reference Warnier</span>2007</a>:12). And more: ‘In the fields of music, oral and written literature, bodily techniques, the arts and religious practices, individuals and groups are constantly inventing, <span class="page-marker"></span>innovating and renewing the cultural achievements of their society. No culture, no society, remains alive without engaging in ongoing cultural creation’ (Warnier <a class="xref bibr" href="#REFe-r-211" data-sectionId="#REFe-r-211"><span class="show-for-sr">Reference Warnier</span>2007</a>:52–53).</p><p class="p">In reality, this creative approach aims to (re)revive the artistic and musical heritage by covering, recycling and remixing traditional music in order to modernise it. This whole idea is a form of cannibalism (Nyamnjoh <a class="xref bibr" href="#REFe-r-153" data-sectionId="#REFe-r-153"><span class="show-for-sr">Reference Nyamnjoh and Francis</span>2018</a>), as Diawara (<a class="xref bibr" href="#REFe-r-063" data-sectionId="#REFe-r-063"><span class="show-for-sr">Reference Diawarra, Röschenthaler and Diawarra</span>2015</a>) also makes us understand in village musical poetics (in Mali). The production of remixes in the artistic world of modern popular music resonates with this (re-conceptualised) cannibalism.</p><p class="p">This idea of the tribe fits in well with that of the construction of a collective identity and the social imaginary, even if it tends to overstate the case. The social imaginary can be conceived as ‘all the imagined forms and contents that are part of social expressions and practices’.<a class="xref footnote" href="#FN-fn-3" data-sectionId="#FN-fn-3"><span class="show-for-sr">Footnote </span><sup class="sup">3</sup></a> In Durkheim’s view, society is first and foremost constituted by ‘the idea it has of itself’, that is, by the autonomous collective representations that circulate in social life and weave the fabric of community consciousness: ‘a whole world of feelings, ideas and images which, once born, obey laws of their own’ (Durkheim <a class="xref bibr" href="#REFe-r-070" data-sectionId="#REFe-r-070"><span class="show-for-sr">Reference Durkheim</span>1912[2007]</a>:594–596). The social (and even national) imaginary of a country can no longer be conceived as being confined within geographical boundaries. More than ever, we must consider that African music in general, and Ivorian music in particular, develops within ‘transnational cultural flows’ (Appadurai <a class="xref bibr" href="#REFe-r-007" data-sectionId="#REFe-r-007"><span class="show-for-sr">Reference Appadurai</span>2001</a>:90).</p><p class="p">The (non-exhaustive) ‘tribalisation’ sketched out earlier refers to imaginary worlds nourished, among other things, by myths that serve to organise daily life and determine artistic creation. Here, passions, elective affinities and sectarian behaviour are important for actors inhabited by ideologies, collective representations and ‘community’ or ‘subcultural’ logics (Tacussel & Renard <a class="xref bibr" href="#REFe-r-191" data-sectionId="#REFe-r-191"><span class="show-for-sr">Reference Tacussel, Renard and Thomas</span>1998</a>:275–276). The language used in popular music is a mark of identity affirmation. Popular song often uses <em class="italic">Nouchi</em>, a variety of African French, the result of local appropriation of the language of the coloniser, which has become the language of power. This language can be conceived as an agent of instrumental, registral and above all identity-based legitimacy (Robillard quoted by Zang Zang <a class="xref bibr" href="#REFe-r-223" data-sectionId="#REFe-r-223"><span class="show-for-sr">Reference Zang Zang and Floquet</span>2018</a>:7). It can also be understood, from a globalist perspective, as a contemporary crossbred language of other young languages, hybrid languages of African metropolises (Hindoubill, Camfranglais, Franfulfuldé, etc.), characterised by a mixture of codes (Boutin & Kouadio <a class="xref bibr" href="#REFe-r-044" data-sectionId="#REFe-r-044"><span class="show-for-sr">Reference Boutin, Kouadio and Blumenthal</span>2015</a>:252) and which are part of the periphery of the global continuum of French (Zang Zang <a class="xref bibr" href="#REFe-r-223" data-sectionId="#REFe-r-223"><span class="show-for-sr">Reference Zang Zang and Floquet</span>2018</a>:12).</p><p class="p">More prosaically, it is the language of the street, often used by young people (whether or not they come from the street). In the absence of an ‘Indigenous’ <span class="page-marker"></span>lingua franca, it is a place where the social imagination is created and a powerful site for composing and recognising a sense of community belonging, even if it’s in a playful register. Used in popular song, it expresses in the most imaginative way what is perceived as coarse or vulgar in standard language. Language, the condition of normative and creative subjectivity, is the foundation of authenticity and subjection, and determines the ‘capacity to act on the world’. Popular language, as a transgression of the official language and insubordination to the French language, is also the quest for the authentic.</p><p class="p">The imaginary is a world of images, symbols and myths (Barthes <a class="xref bibr" href="#REFe-r-028" data-sectionId="#REFe-r-028"><span class="show-for-sr">Reference Barthes</span>1957</a>) that are autonomous but constitute a self-organised whole capable of rendering meaningful and creative ‘the raw data of memory or perception’. It can be conceived as a network in which the different elements take on meaning in relation to each other: ‘an immaterial bridge, but at the same time a very real one, insofar as it gives us the very real power of these images, unintelligible as long as they remain fragmentary’ (Thomas <a class="xref bibr" href="#REFe-r-195" data-sectionId="#REFe-r-195"><span class="show-for-sr">Reference Thomas and Thomas</span>1998</a>:16–17) through which man gives himself to see the world, and puts himself in touch with the world.</p><p class="p">The question of the emergence (and existence) of a national music haunted the three decades of single-party rule: ‘The more they felt that music was essential to the influence of peoples, the more they felt that the population was lagging behind nationally in this area’ (Konaté <a class="xref bibr" href="#REFe-r-110" data-sectionId="#REFe-r-110"><span class="show-for-sr">Reference Konaté</span>2002</a>:777). National musicians internationalising local genres, artists acclimatising genres from elsewhere, did not resolve the question of national music, did not manage to become ‘singers of Ivorian music’ or national emblems. Armed with the pidginised French of the street, <em class="italic">zouglou</em> would undoubtedly sidestep the conscious or unconscious ‘ethno-strategy’ at work in the development of Ivorian music and position itself as national music (Konaté <a class="xref bibr" href="#REFe-r-110" data-sectionId="#REFe-r-110"><span class="show-for-sr">Reference Konaté</span>2002</a>:778). As for ‘ethno-strategy’ (Konaté <a class="xref bibr" href="#REFe-r-110" data-sectionId="#REFe-r-110"><span class="show-for-sr">Reference Konaté</span>2002</a>), it should be noted that music can be ‘ethnic’ and have a national (or even international) audience. The impact of the lyrics will certainly not be the same. Popular music also reveals an ethos (in the sense of a set of values, but also a lifestyle and a sense of achievement). It produces and reproduces a collective imagery (a set of images from the same origin) that is produced (reproduced), proposing a way of perceiving the world and of perceiving oneself in that world.</p><p class="p">Music is also part of the construction of the collective identity of a group, a people, a human community. ‘Identity is a more sociological concept than the ego, and one that is more difficult to grasp because it does not manifest itself directly in the behaviour of individuals. Identity is also a mechanism, a process, and processes are never directly observable’ (Moessinger <a class="xref bibr" href="#REFe-r-141" data-sectionId="#REFe-r-141"><span class="show-for-sr">Reference Moessinger</span>2000</a>:91). In Côte d’Ivoire, popular music is often reduced to <em class="italic">zouglou</em> or <em class="italic">reggae</em>, or even <em class="italic">coupé décalé</em>. Because of their hegemonic nature, they create a halo around modern popular music, which can now be seen as a sign of young people asserting their <span class="page-marker"></span>identity through insubordination to adult authority (Akindès <a class="xref bibr" href="#REFe-r-004" data-sectionId="#REFe-r-004"><span class="show-for-sr">Reference Akindès, Palmberg and Kirkegaard</span>2002</a>:101). Identity is often understood as having two dimensions: unity, which refers to ‘a set of individual properties that remains relatively constant’, and uniqueness, which refers to ‘the specificity of the individual, to what makes him different from others, and most often refers to experience and subjectivity’ (Moessinger <a class="xref bibr" href="#REFe-r-141" data-sectionId="#REFe-r-141"><span class="show-for-sr">Reference Moessinger</span>2000</a>:95).</p><p class="p">Popular music (in the sense of committed or non-committed popular music) constructs the uniqueness of the Ivorian as a collective feeling vis-à-vis a ‘community self’ and vis-à-vis others. In order to make a ‘hermeneutic’ of it, to draw out its meaning, we posit that this popular music participates in the process of constructing a collective Ivorian identity. In other words, the aim of this work is to understand popular music as language and communication. Understanding popular music as a form of social communication means interpreting its meaning, in other words, reconstructing the motives of social actors (Boudon 2003). Values such as ‘hospitality’ and ‘pacifism’ make up the representations of the stereotypical positive Ivorian identity, ‘Ivorian-ness’. The symbolic aspect of a social fact is undoubtedly one of its properties (Mauss <a class="xref bibr" href="#REFe-r-133" data-sectionId="#REFe-r-133"><span class="show-for-sr">Reference Mauss</span>1925[2012]</a>). These highly symbolic values sketch out the imagined features of Côte d’Ivoire and the Ivorian. ‘There <em class="italic">never was that, there isn’t that and there never will be that’</em>. In this refrain from Pat Sacko’s dream, ‘<em class="italic">that</em>’ <em class="italic">is</em> used for ‘Ivorians killing each other’.</p><p class="p">Popular music, which internalises the values inseparable from the dominant ideology, is, as an expression of cultural identity, the verbalisation of a collective ego or superego (Fougeyrollas <a class="xref bibr" href="#REFe-r-081" data-sectionId="#REFe-r-081"><span class="show-for-sr">Reference Fougeyrollas</span>1987</a>:48–51). The musical expressions of young people bear witness to ‘the conjunction between the uncertainty of the future elites and the disillusionment of those excluded from the system’, out of step with an outdated discourse that has little credibility for these young people (Konaté <a class="xref bibr" href="#REFe-r-110" data-sectionId="#REFe-r-110"><span class="show-for-sr">Reference Konaté</span>2002</a>:778–779). Notwithstanding this, popular music, taken as a whole, conveys a sense of community, collective dreams.</p><p class="p">The postulate here is a major one: the imaginary plays an important role in the establishment of a community (Castoriadis <a class="xref bibr" href="#REFe-r-050" data-sectionId="#REFe-r-050"><span class="show-for-sr">Reference Castoriadis</span>1975</a>; Anderson <a class="xref bibr" href="#REFe-r-006" data-sectionId="#REFe-r-006"><span class="show-for-sr">Reference Anderson</span>1983</a>). It therefore seems conceivable and even possible to understand (the worlds of) music through empirically identifiable ‘tribes’, ‘communities’, ‘natural categorisations’ and even subcultures. For example, we can broadly identify ‘tribal’ groups: <em class="italic">zouglou</em>, <em class="italic">youssoumba</em>, <em class="italic">coupé décalé</em>, and so on, and their successors … in short, those who perform at the Abidjan Urban Music Festival (<em class="italic">FEMUA</em>), but not exclusively. They have more or less marked and differentiated dress and language codes, greeting rituals, lifestyles (more community-based for the <em class="italic">rastas</em>), imaginary worlds, and so on and often have more or less dedicated social and performance spaces (cafés, maquis, bars, etc.), urban bubbles such as the street, the <span class="page-marker"></span>neighbourhood, the ‘periphery’, the university halls of residence, and so on. These groups form communities of sorts. All this seems to have the ingredients of tribality. These ‘communities’ are symptomatic of a ‘tribalism’ or even a ‘neotribalism characterised by fluidity, occasional gatherings and scattering’ (Maffesoli <a class="xref bibr" href="#REFe-r-129" data-sectionId="#REFe-r-129"><span class="show-for-sr">Reference Maffesoli</span>1988</a>:116) at the heart of the way popular music works. These tribal communities, far from being watertight, are characterised by a certain mobility, even nomadism, particularly among musicians who move from one tribe to another, which is a guarantee of creativity and innovation. Popular music is in fact conceived in terms of the ‘hybridisation’ and fusion made possible by the circulation of cultural and artistic products.</p><p class="p">Cultural creativity is not limited to the national territory, but rather extends to a crossbreeding of belonging. The production or manufacture of Ivorian music (like much music) is a delocalised activity (Giddens <a class="xref bibr" href="#REFe-r-085" data-sectionId="#REFe-r-085"><span class="show-for-sr">Reference Giddens</span>1994</a>), we might even say deterritorialised or multi-territorial. Creation may well begin in Abidjan in one studio and be finalised elsewhere in another studio in another country in a diasporic environment, these <em class="italic">homes away from homes</em> which, despite their conscious or unconscious resistance, are themselves in the midst of a process of cultural ‘hybridisation’. The African diaspora, which is extremely complex, plays a considerable role in the deterritorialised production of ‘African’ music in general (Nyamnjoh & Fokwang <a class="xref bibr" href="#REFe-r-156" data-sectionId="#REFe-r-156"><span class="show-for-sr">Reference Nyamnjoh and Fokwang</span>2005</a>:257).</p><p class="p">It is together that the black diasporas specifically produce ‘Ivorian’ music. In Côte d’Ivoire itself, contacts and exchanges between musicians from other parts of Africa (Malians, Guineans, Ghanaians, Cameroonians, Liberians, Congolese – to give just a few examples), in certain districts of Abidjan (Marcory, Remblais, Yopougon, Abobo among others), encouraged creativity and musical creation, while at the same time influencing the construction of the social imagination. Zairean refugee musicians (fleeing economic hardship and then war in their own countries, waiting to return home or go to <em class="italic">Matongué</em> in Brussels) have had a considerable influence on DJ music. The formal analogy between <em class="italic">Ndombolo</em> (Biaya 2000) and the dances and atmosphere created by the DJs is striking.</p><p class="p">Many of the young artists and listeners, often born in the city, have a floating relationship with the rural world, the terroir (Bahi <a class="xref bibr" href="#REFe-r-018" data-sectionId="#REFe-r-018"><span class="show-for-sr">Reference Bahi</span>2010</a>). This low attendance rate is usually explained by fear of witchcraft, reduced financial resources as a result of the economic situation (with the economic crisis, travelling to the village is expensive, especially if the village is far from Abidjan), and other factors. The fact remains that urban and rural boundaries are porous: towns and the hinterland are interconnected. The members of a family, whether they live in the city or the country, are interdependent, even creating a continuity. This continuity is conducive to artistic creation. Ultimately, for these young city dwellers, the village is really the neighbourhood (the <em class="italic">gbata</em>).</p><p class="p"><span class="page-marker"></span>From the end of the 1970s onwards, a cultural and artistic ferment took place, characterised by the blending of the artistic sensibilities of Ivorians and artists of different origins, who had immigrated for various reasons to these places, which were ultimately places of cultural diversity, like hives of artists. This ferment has breathed new vitality into Ivorian popular music. New musical genres and styles are born from and within this socio-cultural effervescence. It’s as if veritable youth subcultures have grown up around these musical styles. The differences between these styles are quite remarkable, even if the sedimentation is not ‘solid’ or rigid. Some young people wander from one style to another. This stylistic coasting is particularly true of musicians with a very good technical level who are capable of playing very different styles. These different musical genres and styles often share the same ‘sharks’ – musicians, technicians or arrangers. As a result, there are no watertight barriers between these musical genres, and there is always scope for mixing and mingling, and therefore for the unexpected.</p><p class="p">Hybridisation and fusion have been joined by fusion. Emotional communities are expressed in the common phrase ‘<em class="italic">we’re together</em>’ (‘<em class="italic">we do everything together</em>’ and, more tragically, ‘<em class="italic">we die together</em>’ in the post-election crisis of 2010). It’s the idea of being together, this sociality that is revealed in essentially behavioural cultural elements: modes of dress, hairstyles, dance, gait, language, and which subsumes itself in ‘style’. Clothes, hairstyles and accessories construct this ‘good’ or ‘bad’ taste, this look, this ‘style’, displayed in front of others as signs of recognition. Indeed, the body speaks: ‘It bears the inscriptions, marks and attributes that express belonging, social identity and status. Clothing and bodily ornaments contribute to this definition, and gestures even more so’ (Balandier <a class="xref bibr" href="#REFe-r-022" data-sectionId="#REFe-r-022"><span class="show-for-sr">Reference Balandier</span>2008</a>:59). All this contributes to the formation of urban subcultures shared by artists and their fans. They also act as beacons to which young people in need of reference points can relate. This form of identification, based on appearances and somewhat haphazard, nonetheless raises the question of what these ‘tribes’ have in common.</p><p class="p">It could be argued that there is no such thing as an audience for popular song, given its great heterogeneity and the plasticity of Ivorian identity and popular culture (and subcultures). Rather, there is a multiplicity of specific audiences. This phenomenon is amplified by the use of the internet. Instead, popular music is the bearer of its own imaginary worlds and imagined audiences, which may have a certain impact on the institution of society. Popular culture, which encompasses the cultures of young people, including protest cultures, is multiform, diffuse and elusive. Understanding it requires us to ‘grasp the practical intelligence of ordinary people, principally in the use they make of mass production’ (Cuche 2001:71). These communities are not some kind of autarkic artistic worlds, irreconcilable musical clans. Rather, there is a circulation or circularity of influences and, from this perspective, the success of these musical styles appears to be cyclical.</p><p class="p"><span class="page-marker"></span>Theoretically, we can admit that there is cooperation/complementarity between manufacturers and users/consumers of musical products, which themselves convey representations of society. The Ivorian music world is unique in that it is made up of a myriad of experts who participate in a cooperative network to transform the original idea into the finished product. They all have an idea of the tastes and expectations of the public, of what ‘<em class="italic">works</em>’, of what will ‘<em class="italic">hit’</em> and so forth.</p><p class="p">Musicians who have learned ‘on the job’ and other music school graduates can work together to produce music. In reality, they are all involved in this intuitive marketing. And this marketing (or rather this intuitive knowledge based on their experience and common sense) comes into play in the very production of fashionable songs. The studios form a kind of vast network in which the companies (individual or nodule) are both in a position of competition and complementarity, emulation and cooperation. All this forms a complex set of social and professional networks, both physical and digital, forming a networked tribe whose origins are still unknown. These mushrooming micro-companies, often parasitic, sometimes saprophytic, can spring up just about anywhere: for example, in the domestic family sphere (an outbuilding, a room in the house, etc.).</p><p class="p">It’s true that Ivorian music is formed, made and produced elsewhere in the diaspora: in Ghana, in Accra, in Nigeria, in Lagos (see Eba Aka and Ernesto Djédjé – or how typically Ivorian music is made outside Côte d’Ivoire …) in France, in Paris, for example, in recording studios frequented by African musicians. There, musicians of different ethnic origins rub shoulders and work as a group, driven by the same objective and the same passion: African music. Real ‘paradigmatic’ teams were formed, with names that come up often: Aladji Touré, Sissi Dipoko, Jimmy Hyacinthe, and Slim Pezin. The diasporic experience contributed to the formation and transformation of Ivorian music and gave it its current form. It creates a break or rupture between a before and an after, between here and there (Ricci <a class="xref bibr" href="#REFe-r-173" data-sectionId="#REFe-r-173"><span class="show-for-sr">Reference Ricci</span>2016</a>:13). (Ivorian) music is the product of a cultural cross-fertilisation in which digital media and cyberspace are important insofar as they are also places where Ivorian popular music(s) are formed and performed. They are also places where Ivorian musicians express themselves, thus producing a metadiscourse that sheds light on, or rather complicates, our understanding of the musical universe and the (social and economic) logics at work within it.</p></div><div class="sec" id="A-sec-10" data-magellan-destination="A-sec-10"><h3 class="A title"><span class="label">6</span> Music Creation and Technology </h3><p class="p">Most of the peoples who make up today’s Côte d’Ivoire had polysemous terms for music, generally encompassing ‘a plurality of aesthetic practices including dance, song, poetry, storytelling and everything to do with entertainment and play’ (Dédy <a class="xref bibr" href="#REFe-r-061" data-sectionId="#REFe-r-061"><span class="show-for-sr">Reference Dédy</span>1984</a>:109). Creation is understood here as the act of creating a new <span class="page-marker"></span>model, an original work (Petit Larousse). It is understood as an original production or work created by one or more people. We therefore expect something new, original and authentic. Art, particularly musical art, is often seen as a ‘gift’ and the ability to create it as proof of this gift. The artist is seen as consecrated, and talent and success are even often said to have ‘a mystical origin’ (Séry <a class="xref bibr" href="#REFe-r-190" data-sectionId="#REFe-r-190"><span class="show-for-sr">Reference Séry</span>2015</a>:61). Creativity, fertility and productivity are further proof of this gift. Ernesto Djédjé used to say of his rivals: <em class="italic">‘kômou nè blà doblé fa sou nan</em> [the turaco will never become a nightingale]’. Great singers compare themselves to nightingales. No matter how hard his rivals tried, they could never match him, for ‘<em class="italic">dagbasouè nèn bla glopè zo</em> [The tree trunk [that floats] in the water will never become a caiman (crocodile)]’.</p><p class="p">An art world is a structure of collective activity in which often numerous actors cooperate in complex networks to produce works of art. These works of art come into being and exist thanks to this cooperation, and always bear the traces of it (Becker <a class="xref bibr" href="#REFe-r-033" data-sectionId="#REFe-r-033"><span class="show-for-sr">Reference Becker</span>1988</a>:27–28). Following this logic, we were interested in the ‘forms of cooperation implemented’ to produce music. It therefore seemed imperative to identify the constraints that the organisation places on production, to take account of the characteristics of this world of music and the way in which this operation influences (the form and content of) the music produced and therefore the end products made available to the consuming public (disseminated for the benefit of the public). Imagination permeates all human activities.</p><p class="p">But the notion of a network can lead us to lose sight of the fact that in this universe, in this milieu of inter-acquaintance, where entrepreneurship is developing, there are alliances but also rivalries. Admittedly, this fact is far from new: the <em class="italic">tohourous report</em> rivalries between themselves. They prepare themselves mystically so as not to be defeated by their opponents. The sorcery attack is also present. A singer can ‘tie up the mouth’ or ‘block the throat’ of his rival to prevent him from singing, or even stifle his inspiration and inhibit his creativity. Singers then look for occult protections, ‘medicines’ – their rival can harm their performance by attacking their spectacular performances, ipso facto ruining their reputation and ultimately their career. In some cases, the sorcerous attack can even be fatal, leading to the artist’s death. This is what <em class="italic">tohourou</em> Lago Liadé Émile says in his tribute song, his funeral oration, to master <em class="italic">tohourou</em> Srolou Gabriel: evil sorcerers killed him: ‘<em class="italic">A hé godogouwan</em> [evil sorcerers] <em class="italic">a yè tou o!</em> /A <em class="italic">kô lba Sérié Gossi a yè nou to bheu</em> (You killed Séri Gossi [another name for Srolou Gabriel] we’re finished)!’</p><p class="p">A <em class="italic">tohourou</em> singer who succeeds in performing against rivals is seen as a powerful man. His self-presentation places him in the role of ‘truth-teller’ and also sounds like a challenge to others. This self-presentation, very typical of <span class="page-marker"></span>traditional <em class="italic">tohourou</em> singers, is echoed by the modern popular music singer Amédée Pierre, whose nicknames, mottos or currency names all evoke the great singer he embodies and sound like challenges to his rivals. This self-presentation is reminiscent of the declamation (declension) of the griot’s identity (Camara <a class="xref bibr" href="#REFe-r-049" data-sectionId="#REFe-r-049"><span class="show-for-sr">Reference Camara</span>1992</a>; Niane <a class="xref bibr" href="#REFe-r-150" data-sectionId="#REFe-r-150"><span class="show-for-sr">Reference Niane</span>1960</a>). These songwriters ‘prepare’ themselves (in an occult way) before their performance, adorning themselves with fetishes so that their rivals do not cast a spell on them or ‘bind’ their voices. In the words of singer Ernesto Djédjé: <em class="italic">‘Bhle bhle nè wa sronon nikpè/ kossou gui yê wro gba lé/ Manè yè pinekpa grinè a ziri gba ziri?</em> [You can’t teach someone to sing/ It’s in the family/ (so) Why go to the fetishists (implied to block my mouth)?]’. Witchcraft, this ‘living reality’ of our society (Gadou <a class="xref bibr" href="#REFe-r-082" data-sectionId="#REFe-r-082"><span class="show-for-sr">Reference Gadou</span>2011</a>), invites itself into musical performance and even intervenes in unprecedented or unexpected ways. Musicians, whether ‘traditional’ or ‘modern’, often seek mystical ‘protection’. After all, ‘this is Africa’ (Leimdorfer <a class="xref bibr" href="#REFe-r-124" data-sectionId="#REFe-r-124"><span class="show-for-sr">Reference Leimdorfer</span>2006</a>; Djédjé <a class="xref bibr" href="#REFe-r-065" data-sectionId="#REFe-r-065"><span class="show-for-sr">Reference Djédjé</span>2005</a>). Magic and witchcraft, whatever one may say, remain living realities (Boa <a class="xref bibr" href="#REFe-r-038" data-sectionId="#REFe-r-038"><span class="show-for-sr">Reference Boa</span>2010</a>; Gadou <a class="xref bibr" href="#REFe-r-082" data-sectionId="#REFe-r-082"><span class="show-for-sr">Reference Gadou</span>2011</a>). It is therefore conceivable that they are present in the Ivorian musical (art) world.</p><p class="p">Today, music is made in a craft with the <em class="italic">home studio at</em> its epicentre, where digital sound recording technology reigns. Technique (technology) ‘is an active means of producing art [which] contributes to the establishment of mediations’ (see Hennion & Latour <a class="xref bibr" href="#REFe-r-099" data-sectionId="#REFe-r-099"><span class="show-for-sr">Reference Hennion and Latour</span>1996</a>:238–239). It interferes in the daily lives of young musicians. It is becoming increasingly important for learning, creating/manufacturing, reproducing, broadcasting and listening to music. The internet and these technologies are already part of their world. They don’t expect much from the state. Their musical universe, especially among novices, is characterised by resourcefulness and a certain amateurism (in the positive or ‘noble’ sense) at the theoretical, practical and material levels (with very approximate knowledge of harmony, organology, etc.). The socio-technical framework of musical poetics is still fairly rudimentary. These novices are ‘<em class="italic">coached</em>’ by ‘<em class="italic">arrangers</em>’ … Technology, in music production (literally), invites humans to ‘embrace and relate to technologies as things and relationships that complement us as much as they do not’ (Nyamnjoh <a class="xref bibr" href="#REFe-r-152" data-sectionId="#REFe-r-152"><span class="show-for-sr">Reference Nyamnjoh</span>2019</a>:282). ICTs are the real <em class="italic">Juju</em> (Nyamnjoh <a class="xref bibr" href="#REFe-r-152" data-sectionId="#REFe-r-152"><span class="show-for-sr">Reference Nyamnjoh</span>2019</a>) that makes musical works possible. Here, technology and ‘witchcraft’ both refer ‘to a world of infinite possibilities – a world of presence in simultaneous multiplicities and eternal powers to redefine reality’ (Nyamnjoh <a class="xref bibr" href="#REFe-r-151" data-sectionId="#REFe-r-151"><span class="show-for-sr">Reference Nyamnjoh</span>2020</a>:282).</p><p class="p">That said, the work of art depends less on technique than on the social construct that gives it originality and legitimacy (Rouzé <a class="xref bibr" href="#REFe-r-180" data-sectionId="#REFe-r-180"><span class="show-for-sr">Reference Rouzé</span>2004</a>: 45; Hennion & Latour <a class="xref bibr" href="#REFe-r-099" data-sectionId="#REFe-r-099"><span class="show-for-sr">Reference Hennion and Latour</span>1996</a>). Indeed, a musical work (like any artistic work) can be seen as ‘the ambiguous product of a struggle between the subjectivity of the artist and the technical necessities of the material’ (Passeron <a class="xref bibr" href="#REFe-r-164" data-sectionId="#REFe-r-164"><span class="show-for-sr">Reference Passeron</span>1999</a>:271), where technique <span class="page-marker"></span>(digital technology) comes into play. The work that emerges (from this process) is not the product of an individual creator but rather of a collective entity working in (home)studios (which flourish here and there) where working conditions are not always optimal (compared to North American or European studios). Music is one of the best places to apply advanced technologies. These play an important role in creation (production), even if they do not guarantee creativity.</p><p class="p">Oré Tapé Félix, <em class="italic">Tohourou</em> from Digbapia in the Daloa region, explained the elements of the costume he wears for his stage performances. The cowrie shell headband around his head is designed to inspire his creativity. The clothes he wears for his artistic performances are a legacy from his late uncle, <em class="italic">Tohourou</em> Gabriel Srolou, known as ‘Gabi Show’, and are supposed to provide him with both magical protection and creative inspiration. But it all starts with a ‘raw’ idea. The sources of inspiration are numerous and by definition unlimited. Popular artists draw their inspiration from their social environment (e.g. DJ Lewis’s ‘Avian Flu’), from ordinary everyday life (‘Premier gaou’ by Magic System), from the smallest facts of ordinary daily life. They may deal with seemingly insignificant issues told in a lapidary fashion, but are thus clearly and unambiguously a testimony to everyday life (Mouchtouris <a class="xref bibr" href="#REFe-r-144" data-sectionId="#REFe-r-144"><span class="show-for-sr">Reference Mouchtouris</span>2007</a>:139). In any case, these songs always represent commercial opportunities.</p><p class="p">The workshop, the rehearsal room and the recording studio are liminal spaces (Turner <a class="xref bibr" href="#REFe-r-205" data-sectionId="#REFe-r-205"><span class="show-for-sr">Reference Turner</span>1969[1997]</a>) where music is made and where creativity is stimulated by group work. This production can take the form of musical bricolage, which requires inventiveness (Nganguè <a class="xref bibr" href="#REFe-r-148" data-sectionId="#REFe-r-148"><span class="show-for-sr">Reference Nganguè</span>2009</a>:11; Kolé <a class="xref bibr" href="#REFe-r-109" data-sectionId="#REFe-r-109"><span class="show-for-sr">Reference Kolé</span>2023</a>). Many musicians, often very limited in terms of both instrumental and theoretical mastery, offer ‘raw material’ that will be transformed by the ‘arranger’ during work sessions in the (home)studio. This ‘liminal being’ (Turner) performs several functions (sound engineer, programmer, coach, instrumentalist, etc.) and is, in the final analysis, a veritable ‘one-man band’. Some are even involved in <em class="italic">live</em> music. Technical ‘mastery’ is a veritable cultural (rather technical) capital in the sense of Bourdieu (<a class="xref bibr" href="#REFe-r-042" data-sectionId="#REFe-r-042"><span class="show-for-sr">Reference Bourdieu</span>1992</a>). But this liminal being, a character wearing many hats, also serves as a role model and motivator, a stimulator, and so forth. In this world, jazz musicians, often self-taught, are ‘studio sharks’, sought after for their ability to add creativity. In the minds of Ivorian musicians, jazzmen represent the pinnacle of musical art, even if they can sometimes seem ‘esoteric’.</p><p class="p">The apparent paucity of sources of inspiration is due to the fact that it is subject to food preoccupations. Artists, manipulated by their stomachs, produce what will feed them. Ideological aberrations restrict the depth of questioning, reduce musicians’ capacity to question, and dry up the sources of inspiration: the sources of inspiration become one-track thinking or harmless ditties. <span class="page-marker"></span>The musician loses his ‘capacity for interpellation’ (Mbembe <a class="xref bibr" href="#REFe-r-135" data-sectionId="#REFe-r-135"><span class="show-for-sr">Reference Mbembe</span>1985</a>:144). The pressure of producers and the ‘market’ must also be taken into account (even at that time). What’s more, they were inexorably drawn towards ‘<em class="italic">gombos</em>’.</p><p class="p">Musical creation, in these ‘creative (interconnaissance) milieus’ translates how and why the poet-singer narrates social life and expresses this world at the same time as constructing it, and can ‘unmask, behind appearances, the languages of the powers and their codes’ (Goerg <a class="xref bibr" href="#REFe-r-087" data-sectionId="#REFe-r-087"><span class="show-for-sr">Reference Goerg and Goerg</span>1999</a>:6). A stable, theorising <em class="italic">doxa</em> constitutes ‘a background, a back-world or even a pre-text as well as a context, a permanent accompaniment to artistic manifestations [because the doxa is] directly the driving force, or at least the medium that indirectly shapes, through its expectations, the way of thinking about and producing art’ (Cauquelin <a class="xref bibr" href="#REFe-r-051" data-sectionId="#REFe-r-051"><span class="show-for-sr">Reference Cauquelin</span>1999</a>:12). It naively receives, assembles and mixes the most diverse conceptions. The musical work is based on cultural and unnatural patterns of perception (Caune <a class="xref bibr" href="#REFe-r-052" data-sectionId="#REFe-r-052"><span class="show-for-sr">Reference Caune</span>1995</a>:111), which are themselves an integral part of the musical situation. The commercial profitability of the work appears (always more or less) as an imperative.</p><p class="p">The extreme example of the <em class="italic">tohourou</em> and its magical artefacts illustrates the extent to which creativity is the real obsession of creators, and the fixation on new technologies is often aimed at compensating for the lack of ideas, the drying up of creativity which often takes the path of authenticity and which seems to creators to be a guarantee of success. ‘For poetics, the dual authenticity of the material processed and the subject who acts remains an essential value’ (Passeron <a class="xref bibr" href="#REFe-r-164" data-sectionId="#REFe-r-164"><span class="show-for-sr">Reference Passeron</span>1999</a>:273). However, there is a certain ‘antinomy of merchandise and authenticity’ (Warnier <a class="xref bibr" href="#REFe-r-212" data-sectionId="#REFe-r-212"><span class="show-for-sr">Reference Warnier and Warnier</span>1994</a>:12). Authentic merchandise (be it musical) is paradoxical, marked by money, and yet guarantees ‘a “personalisation” made increasingly necessary by the commodification of the universe in which we live’ (Warnier <a class="xref bibr" href="#REFe-r-212" data-sectionId="#REFe-r-212"><span class="show-for-sr">Reference Warnier and Warnier</span>1994</a>:20).</p><p class="p">Because of Côte d’Ivoire’s recent history, the demand for authenticity takes place in a social space where ethno-cultural identities play an important role. Authenticity, an often obsessive African quest, can be sought on the fringes of identity fiction, referring to the past, to ‘tradition’, to the ‘typical’, and so on. This (re)conquest of authenticity, beyond folklore, in those years, evokes the very opposite of a modernity deemed alienating. Some Ivorian musical promotions bet on authenticity at the risk of seeing it converted into a niche (in the marketing sense of the term) in order to ‘make money’. This so-called authenticity seems more like a niche market than a serious claim to identity.</p><p class="p">In the globalised music market, the roles of music lovers, influencers and consumers are differentiated. The development of mass media and the Internet affect the aesthetics and tastes of audiences and, logically, are likely to determine production itself to some extent. This inevitably raises the question of <span class="page-marker"></span>authenticity in terms of the distinction between ‘avant-garde’ and ‘junk’, which symbolises the triumph of profit that garrotes culture (Adorno <a class="xref bibr" href="#REFe-r-002" data-sectionId="#REFe-r-002"><span class="show-for-sr">Reference Adorno</span>1962</a>:20). Cultural creativity is not confined to a nation in the limited sense of the term, but extends to the very notions of métissage and miscegenation, the dimensions of belonging. These popular musics, born of cultural blends and reinvented traditions, are made using both complex musical technologies and re-appropriated ancestral instruments, and are part of the same movement of renewal. Despite the use of electronics and digital technology, modern popular music seems to be more about continuity than rupture. ‘We live by legacies, and on legacies … elements from the past weigh and condition the present and the future to some extent’ (Dollfus <a class="xref bibr" href="#REFe-r-066" data-sectionId="#REFe-r-066"><span class="show-for-sr">Reference Dollfus</span>2007</a>:47).</p><p class="p">By seeking an ‘Ivorian authenticity’ – which we thought was emerging with <em class="italic">zouglou –</em> Ivorian music is at the same time accompanying the construction and contradictions of identity (i.e. identity of similarity and identity of difference). Like art in general, music ‘integrates the new from what has gone before, making the two coexist <em class="italic">as if</em> nothing had changed. An <em class="italic">as if</em> that defines fiction, the imaginary’ (Meyer <a class="xref bibr" href="#REFe-r-137" data-sectionId="#REFe-r-137"><span class="show-for-sr">Reference Meyer</span>1997</a>:43). This quest for authenticity is also expressed in the ideals of fusion subsumed in the expression ‘tradi-moderne’, a word formed from traditional and modern, which, when added to ‘music’, refers to ‘that which combines traditional and modern music’ (Massoumou & Queffélec <a class="xref bibr" href="#REFe-r-132" data-sectionId="#REFe-r-132"><span class="show-for-sr">Reference Massoumou and Queffélec</span>2007</a>:419). It can be inspired by traditional music and combine modern (European) instruments (Kua-Nzambi Toko <a class="xref bibr" href="#REFe-r-116" data-sectionId="#REFe-r-116"><span class="show-for-sr">Reference Kua-Nzambi Toko</span>2018</a>). Many musicians have felt or are feeling this absolutely reflexive need to stop, if only temporarily, in order to consider what the traditional African aesthetic – that of their environment or ‘terroir’ – should contribute to their contemporary modern creation. This is perhaps what is reflected in the neologism ‘tradi-moderne’.</p><p class="p">But there are still questions about the authenticity of modern Ivorian popular music, which draws on a variety of local traditions as well as, and above all, Western ones (in terms of harmony, composition, orchestration, etc.). Given all the circulation of forms, ideas, materials and people, all the exchanges, all the revivals, all the mixes – can we really still talk about authenticity? Like tradition, which is invented, authenticity is produced by the mobility of people, ideas and objects. Authenticity, like tradition, is dynamic. One way of being ‘original’ is to draw on the reservoir of ‘traditional’ music, the music of the ‘terroir’. This means mixing or revisiting it in the light of Western musical traditions, popular music from Northern countries, and other African music such as Congolese <em class="italic">rumba</em>, <em class="italic">highlife</em>, <em class="italic">makossa</em> and so on. This justifies the names of mixes such as ‘<em class="italic">zézé pop</em>’, ‘<em class="italic">aloukou pop’</em>, ‘<em class="italic">ziglibithy-makossa</em>’ and so on. The ‘cosmopolitan nativism’ (Olaniyan <a class="xref bibr" href="#REFe-r-157" data-sectionId="#REFe-r-157"><span class="show-for-sr">Reference Olaniyan</span>2004</a>), a veritable endogenous ‘cosmopolitanism’, can also be found in a musician like Meiway. This act of gentle <span class="page-marker"></span>resistance to Euro-American cultural imperialism is not closed in on itself or turned in on ancestrality, but rather open to intentional and egalitarian hybridisation, by no means as a result of coercion or capitulation to foreign cultural hegemonic forces. However, ‘authenticity is illusory if rationality remains alien to it in every respect, if it is not expressed through the instrumentalities of technology which, when mastered, can provide it with the necessary, though not sufficient, conditions’ (Eboussi Boulaga <a class="xref bibr" href="#REFe-r-072" data-sectionId="#REFe-r-072"><span class="show-for-sr">Reference Eboussi Boulaga</span>1977</a>:228). What can musical ‘authenticity’ really be if it is left to the laws of a music market driven by profit?</p><p class="p">‘Technology’, which is revealed (imposed) fairly early on in the musician’s life, is central to understanding the musical poietic process. In the Ivorian music world, musicians find it extremely difficult to obtain quality instruments and make do as best they can. The most numerous and ‘<em class="italic">affordable</em>’ musical instruments and electronic equipment come from Asia, with China supplanting European ‘domination’. Instruments made in Japan, and <em class="italic">even more so</em> in the United States, often remain out of reach, and are the stuff of fantasy for professionals and well-informed amateurs. There is still the informal second-hand market offering instruments from France. Technology is still involved in the very use of these tools to produce musical works and record them. Music is probably the art form that the new media, recording techniques, sound synthesis and data transmission are turning most upside down (Tesser <a class="xref bibr" href="#REFe-r-194" data-sectionId="#REFe-r-194"><span class="show-for-sr">Reference Tesser</span>2006</a>).</p><p class="p">Music, which was already highly electronic and ‘mechanised’, has gone through a computerised phase. This change began about thirty years ago. This modernity is then expressed by its formidable capacity to appropriate the old musical heritage (sounds, rhythms, instruments, lyrics) thanks in particular to <em class="italic">sampling</em>. So, with these samples, taken from what is real but not necessarily new, we produce something else, something new but not necessarily new. ‘Technology’ offers a lot of ‘prefabricated’ material. In the Ivorian music world today, most people under thirty have little or no musical training. They ‘master’ technology, ‘cracking’ <em class="italic">software on</em> the Internet, and so on. They compose from patches, but they don’t know how to use them. They compose using <em class="italic">patches</em>, <em class="italic">loops</em>, musical loops (and to a certain extent, artificial intelligence). That said, they often use African musicians as their reference point. They are on the internet, in digital social networks, sharing the same images, the same videos, and with the same culture, the same imagination as the African artists of <em class="italic">coupé décalé</em> or <em class="italic">afrobeats,</em> for example, whom they adore. They haven’t experienced the music of the 1970s, 1980s and so on. They compose directly from the ‘prefabricated’. Thanks to new computer equipment and processes, electronic sounds produced by synthesisers (<em class="italic">patches</em>), samples or extracts of existing music or ‘natural’ sounds taken out of their context, can be reused to make up other sound ensembles, form repetitive sound loops (<em class="italic">loops</em>), <span class="page-marker"></span>and so on. These elements, designed for (trained) non-musicians, are often even downloadable (free of charge) from the Internet, and allow intuitive, non-linear composition, forcing ‘scholastics’ to adapt to the new situation.</p><p class="p">Their relatively close elders, an ‘intermediate’ generation, often in their forties and fifties, have a certain culture, firstly theoretical, and then this culture of <em class="italic">pop</em> music, <em class="italic">rock</em>, <em class="italic">funk</em>, <em class="italic">variety</em>, <em class="italic">jazz,</em> and so on. They know how to use new technologies to express their creativity and try to combine the two, namely this overall ‘musical culture’ and the resources of technology. Finally, another line, by far the most numerous, calls itself ‘tradi-modern’ and is made up of those who play – in fact translate – what they call ‘traditional’ music on modern instruments, often using Western musical codes.</p><p class="p">In reality, the most difficult thing is to put theoretical and musical knowledge, as well as technology, at the service of creativity. Either you use the ‘prefabricated’, or you modify (you are able to modify) the <em class="italic">loops</em> and, thanks to all the African instrument <em class="italic">patches</em> and rhythmic loops, you are able to create African music. It’s easy to see how the possibilities are endless, and how an African musical authenticity, an Africanity of music, can be reconstructed from Western sound <em class="italic">patches</em> and musical loops. The ‘digital revolution’, and in particular the mobile Internet, is driving a transformation of cultural industries worldwide. But the Ivorian context, still strongly marked by the informal music economy and a scarcity of labels, ‘is part of a service economy outside the copyright system’ (Olivier <a class="xref bibr" href="#REFe-r-158" data-sectionId="#REFe-r-158"><span class="show-for-sr">Reference Olivier</span>2020</a>:98). However, music is produced for the music market, with its fashions and trends (among both producers and consumers), as well as its different ‘segments’ (Ivorian diaspora, African diaspora, etc.), which are important for understanding the dynamics of ‘local’ music. The relative inflation of publishing houses is not in itself a new phenomenon: ‘The omnipotence of the distribution mechanisms available to aesthetic junk and depraved cultural goods, as well as the socially created predispositions of listeners, have, in late-stage industrial society, brought radical music into complete isolation’ (Adorno <a class="xref bibr" href="#REFe-r-002" data-sectionId="#REFe-r-002"><span class="show-for-sr">Reference Adorno</span>1962</a>:15).</p><p class="p">For producers, a record is above all ‘a consumer product like any other’. In the Ivorian (African) music market, which is still relatively unorganised, most producers are both ‘publishers’ and ‘managers’ of artists. They can work with independent distributors. Distribution remains difficult, however, because of piracy (a parallel economy that deals a blow to local cultural industries) and the difficulties of internet access and its still high cost.</p><p class="p">Ultimately, the production of modern popular music depends on the success of the work produced. More prosaically, it has to ‘work’. But what is the market for <em class="italic">mapouka,</em> with its illicit videos, for <em class="italic">DJs</em>, for <em class="italic">coupé décalé</em> and its ethos of showing off, for <em class="italic">zouglou,</em> with its disorientated youth, or for <em class="italic">reggae,</em> with its <span class="page-marker"></span>indefatigable prophets? By indigenising culture, the modernity driven by globalisation is helping to reinforce the ‘indigeneity’ of African and Ivorian music (it has to sound African and Ivorian for it to sell). Urban music has become a global phenomenon – and popular music itself is a global phenomenon. With the power of commercial marketing, popular music has become a commodity that must generate profits for its producers. It generally represents a market governed by the record industry’s <em class="italic">major companies</em>, with small record companies struggling to make do.</p><p class="p">Experience of the poietics of the products of the Ivorian musical (craft) industry shows that music is created and developed in a bricolage (technical and identity-based) that transcends binary analyses of traditional/modern, interior/exterior, rural/urban. In these creative adventures driven by passion and dreams of success and glory, the pieces of music are constructed over the course of the performances by the various contributions of the (many or diverse) contributors, who are de facto co-authors or co-composers. As for success in this musical universe, the Ivorian music world in the process of professionalisation resembles a social field in many respects (Bourdieu <a class="xref bibr" href="#REFe-r-042" data-sectionId="#REFe-r-042"><span class="show-for-sr">Reference Bourdieu</span>1992</a>:28).</p></div><div class="sec" id="A-sec-11" data-magellan-destination="A-sec-11"><h3 class="A title"><span class="label">7</span> Professionalisation or the Search for ‘<em class="italic">Gombos</em>’? </h3><p class="p">The world of music is becoming ever more demanding and its ‘market’ ever more competitive. The professionalisation and professionalism of the players at both methodical and technical levels are a must. This is the price to pay for safeguarding the national cultural heritage, which is at the heart of the Ivorian government’s development strategy. Professionalism refers to imported and often copied structures, operations and procedures. Due to a lack of appropriate training, professionalism is still lacking among the players, and the titles they use (‘manager’, ‘producer’, ‘executive producer’, ‘artistic director’, ‘arranger’, or even ‘artist’) are mainly part of their ‘<em class="italic">look</em>’. The young artist-musician often even begins to create his appearance as an artist before he has mastered his art.</p><p class="p">The Ivorian music world is marked by the collaboration of high-level amateurs and professionals. A division of labour, notably between author and lyricist, composer, ‘musician (musicist)’, interpreter and performer (Vian <a class="xref bibr" href="#REFe-r-207" data-sectionId="#REFe-r-207"><span class="show-for-sr">Reference Vian</span>1997</a>:13; Agawu <a class="xref bibr" href="#REFe-r-003" data-sectionId="#REFe-r-003"><span class="show-for-sr">Reference Agawu</span>2016</a>:4) can help to grasp the phenomenological reality of the tasks and responsibilities of the actors in the musical art world. Each category of actor involved in the production of a musical work has ‘a bundle of tasks to accomplish. Although the division of tasks is to a large extent arbitrary (it could have been done differently, and it is only based on the agreement of all or most of the participants), it is not easy to modify for all <span class="page-marker"></span>that’ (Becker <a class="xref bibr" href="#REFe-r-033" data-sectionId="#REFe-r-033"><span class="show-for-sr">Reference Becker</span>1988</a>: 37). But this division is tending to be blurred because the combination of these tasks is frequent and facilitated by the mastery of technology. The mass internet has ushered in an era of democratisation of skills, following on from political and educational democratisation. The main difference between the mass media and the web is that, on the web, amateurs take centre stage: ‘the contemporary web has become the kingdom of amateurs’ (Flichy <a class="xref bibr" href="#REFe-r-077" data-sectionId="#REFe-r-077"><span class="show-for-sr">Reference Flichy</span>2010</a>:7). Amateur is understood here as both producer and consumer (Flichy <a class="xref bibr" href="#REFe-r-077" data-sectionId="#REFe-r-077"><span class="show-for-sr">Reference Flichy</span>2010</a>:13). A (very) strong presence of amateurs at all levels of the music production chain. In this world, do-it-yourself is the order of the day, and the artist (the actor) appears as a master builder who finds himself at several points in the production chain of this cultural product. Singers are often simultaneously composers, arrangers and authors of the texts they perform.</p><p class="p">The intervention of technology does not cancel out the artisanal aspect of music production, and the making of popular music appears to be a veritable production craft combining new and old technologies. For players who are often penniless and live by their wits, professionalism is first and foremost a question of survival. The quest for ‘<em class="italic">gombos</em>’, small emoluments to ‘tide them over’, illustrates the overall precariousness of the musical world, made up of players who are still poorly organised and unaware of their rights. This need for ‘gombo’, which drives people from one genre (or style) to another, is a driving force behind the (still embryonic) professionalisation of the Ivorian music scene. Popular music has enabled some young people to move from the status of ‘unemployed’ or ‘small-time earners’ with little status, to that of ‘artist’, which is more rewarding. Along with football, it is a symbol of success for young people, and its singing heroes are heralds of a politically, socially and economically dominated group. ‘Breakthrough’ in music is a dream come true. <em class="italic">Breaking into</em> music is a dream for many young people, almost as much as becoming an international footballer, and remains the ineffable hope of many. They enter and find themselves in a world where the competition is increasingly fierce, and where it is more and more difficult to make a name for oneself, hence the temptation to consider this world as a ‘social field’ (Bourdieu <a class="xref bibr" href="#REFe-r-043" data-sectionId="#REFe-r-043"><span class="show-for-sr">Reference Bourdieu</span>1984</a>:113–116). Evolving in the world of musical art therefore involves forging alliances. Having a certain mastery of the new technologies (the new <em class="italic">jujus</em>) is an asset for existing in and promoting productions and performances.</p><p class="p">Although few in number, record labels (e.g. Badmos) play a key role in both the ‘authenticity’ and commercial exploitation of musical heritage. Authenticity is becoming increasingly fantasised. Today, given the great mobility of people, Chinese furniture is ‘<em class="italic">made in France</em>’ by French people and Asian immigrants to make it look ‘typically’ Chinese (Warnier <a class="xref bibr" href="#REFe-r-212" data-sectionId="#REFe-r-212"><span class="show-for-sr">Reference Warnier and Warnier</span>1994</a>:13–14; Julien 1994:30). There is a good chance that the African diviner’s cowrie shells are Chinese. <span class="page-marker"></span>Similarly, ‘typically’ Ivorian music is often recorded outside Côte d’Ivoire (in Ghana, Nigeria, France, the USA, etc.) by a motley crew of musicians, few of whom are actually Ivorians. So what constitutes typicality, in this case Ivorian musicality? As a commodity, it is authenticated and guaranteed by a kind of stereotypical sound, imbued with a certain typicity, which in turn refers back to the Ivorian musical imagination. After all, it comes from the industrialised West. Designed and above all manufactured abroad, in a developed country, this musical merchandise has something exotic about it as well as (good) quality. ‘It is by using the market as a springboard that the exotic object, claiming an authenticity [here, Ivorian], can bounce back into the present of mass consumption’ (Warnier 1994a:13). Authenticity is (something) cobbled together. In the logic of culture-tradition, the guarantee of authenticity is linked to (stems from) a ritualised and codified process of recognition by peers and acceptance by the ‘people’, where music as such has no (real) market value. Today, it is the reputation of record labels, in particular the fame of artists’ managers, the audience of ‘cultural’ journalists, the popularity of radio and television presenters, the ‘aggressiveness’ of show promoters, the authority of music analysts (academics of all stripes and backgrounds), in short all these actions which, in some way aggregated, contribute to the ‘certification’ of the authenticity of modern popular music by making it worthy of interest. To this must be added recognition by peers (or by an influential peer) within (or in the networks of) what have been described earlier (somewhat abusively) as musical ‘tribes’. So, for example, the legitimising and authenticating authority for <em class="italic">reggae</em> is Jamaica par excellence, that imaginary diasporic Ethiopia, and in particular Kingston, which is an object of adoration for <em class="italic">reggae-men.</em> Alpha Blondy’s trip to Kingston, as the video clip shows, serves as much as a pilgrimage to the ‘source’ as it does a test of authentication, validation, completion and elevation of his <em class="italic">reggae</em> by what represents the supreme place of creation of this musical genre.</p><p class="p">In all lucidity, we have to admit that ‘musical domination’ is exercised with the complicity, or rather perhaps the cooperation, of the ‘dominated’ (Hennion <a class="xref bibr" href="#REFe-r-098" data-sectionId="#REFe-r-098"><span class="show-for-sr">Reference Hennion</span>1981</a>). Many musicians, inspired by what is happening especially in the United States in Afro-American and increasingly Nigerian circles, are tempted to create labels, often ephemeral, living only for the duration of a ‘<em class="italic">single’</em>, veritable self-promotion labels whose outdated traces can be found on this or that album or from time to time on the Internet.</p><p class="p">Until recently, Côte d’Ivoire, like many African countries, did not make intellectual property (scientific, literary and artistic) a priority. Colonial legislation in this area lasted well beyond the colonial period itself. The body responsible for such rights, the Bureau ivoirien des droits d’auteurs (BURIDA), <span class="page-marker"></span>broadly modelled on the French Société des auteurs compositeurs et éditeurs de musique (SACEM), began operations in April 1981. There were at least two reasons for this slowness: (i) the State gave priority to the economy and (ii) ‘the players in the cultural sector, faced with many other difficulties, paid little attention to the notion of copyright’ (Pierrat <a class="xref bibr" href="#REFe-r-168" data-sectionId="#REFe-r-168"><span class="show-for-sr">Reference Pierrat</span>2005</a>). Even today, legislation remains silent on many points (e.g. publishing contracts and the legal regime applicable to cross-border co-publications).</p><p class="p">The Bureau ivoirien des droits d’auteurs, which still operates as an ad hoc society of authors, currently manages the rights of more than 6,000 authors, producers and internet artists, and more than 72,000 works. The artist declares his work to BURIDA, which manages the copyright. In return, it benefits from the distribution of the funds collected. These rights (or ‘<em class="italic">royalties</em>’) constitute the remuneration of the author, producer or songwriter. For political, economic and socio-cultural reasons, the Office is faced with real difficulties in administering (recording, monitoring, redistributing, archiving, managing, etc.) the rights of songwriters and composers in Côte d’Ivoire (Kossonou <a class="xref bibr" href="#REFe-r-114" data-sectionId="#REFe-r-114"><span class="show-for-sr">Reference Kossonou</span>2020</a>).</p><p class="p">Because of their overwhelming numbers, the musicians de facto dominate BURIDA. Bureau ivoirien des droits d’auteurs is not really equipped to control broadcasting. Instead, this task is performed by the High Authority for Audiovisual Communication. It is easy to understand the scale of the difficulties that arise: ‘music broadcasting gives rise to a dispute between orchestras and singers on the one hand, and on the other, many radio stations that do not pay the former their royalties; the radio stations, however, ensure or maintain the success of many artists’ (Tudesq <a class="xref bibr" href="#REFe-r-201" data-sectionId="#REFe-r-201"><span class="show-for-sr">Reference Tudesq</span>2002</a>:187).</p><p class="p">Under such conditions, it seems difficult to protect the wealth of folklore (traditional works and artists, intellectual property of Indigenous peoples) and more broadly cultural heritage through intellectual property. Some even believe that Ivorians themselves should exploit this cultural wealth so that it does not come back to us in the form of prefabricated manufactured products to be used in the creation of ‘typically’ Ivorian music, while keeping us in a situation of dependence on Western producers of musical goods and products.</p><p class="p">It is clear that, in many cases, the traditional social institutions safeguarding the rights of traditional cultural producers have been shattered by the upheaval of the social order brought about by colonisation. The post-colonial state – particularly the body responsible for copyright – is struggling to integrate them into its modus operandi. It is clear (though difficult to accept) that the intangible assets of ancient traditional cultural agents (commonly known as folklore), regarded as anonymous and collective, are at worst illegitimately appropriated, at best cannibalised (see Diawara <a class="xref bibr" href="#REFe-r-063" data-sectionId="#REFe-r-063"><span class="show-for-sr">Reference Diawarra, Röschenthaler and Diawarra</span>2015</a>; Röschenthaler <a class="xref bibr" href="#REFe-r-174" data-sectionId="#REFe-r-174"><span class="show-for-sr">Reference Röschenthaler, Röschenthaler and Diawarra</span>2015</a>).</p><p class="p"><span class="page-marker"></span>The context for the development and creation of the performing arts is changing, with the creation of labels, (<em class="italic">home</em>)recording studios, networks of professionals and concert venues. The sector is becoming more professional, with a kind of mass production by craftsmen. For any musician (whether a beginner or not), a fundamental problem is that of local and, if possible, international visibility. This is achieved through recordings (Olivier <a class="xref bibr" href="#REFe-r-158" data-sectionId="#REFe-r-158"><span class="show-for-sr">Reference Olivier</span>2020</a>) and the various opportunities to be seen and heard, particularly through the media. The Market for African Performing Arts (MASA) was created to promote and develop African performing arts both locally and globally. It creates a festive space for stage performances and meetings (between artists, presenters and promoters), and subsequently a lever for raising the profile of artists and their work. However, it has not been as successful as expected in terms of attendance, audience engagement and loyalty, and promotional and commercial spin-offs. This is probably due to a strategy that is still ill-suited to the lability of the market for artistic and cultural products (Doua <a class="xref bibr" href="#REFe-r-068" data-sectionId="#REFe-r-068"><span class="show-for-sr">Reference Doua</span>2009</a>).</p><p class="p">Artists have a complex relationship with the state media (Land <a class="xref bibr" href="#REFe-r-120" data-sectionId="#REFe-r-120"><span class="show-for-sr">Reference Land</span>1995</a>) and the commercial media. The latter have played an undeniable role in the ‘modernisation’ of men, the popularisation of Ivorian culture and its opening up to the outside world (Land <a class="xref bibr" href="#REFe-r-121" data-sectionId="#REFe-r-121"><span class="show-for-sr">Reference Land</span>1992</a>). <em class="italic">Volens nolens,</em> the mass media (state or commercial) remain the royal road to success for these musicians, but it remains largely inaccessible. A musician appearing on television is likely to end up on the web (the reverse is not always true). The traditional mass media remain star-making machines. They can offer platforms to musicians who get noticed and stand out on web platforms.</p><p class="p">Today, ‘membership of social networks also enables [young artists] to develop their talent. They become part of different social circles that provide them with the resources they need to realise their dream: to promote their musical talent and gain notoriety’ (Asinome <a class="xref bibr" href="#REFe-r-011" data-sectionId="#REFe-r-011"><span class="show-for-sr">Reference Asinome</span>2017</a>:177). With Internet platforms, a digital transformation is underway in Côte d’Ivoire. Artistic creation – particularly musical creation – is affected by commercial networking via the Internet. This is the path currently being taken by ‘young talent’ in need of funding. They see free web platforms (<em class="italic">YouTube</em>, <em class="italic">SoundCloud</em>, even <em class="italic">Facebook</em>, etc.) as public virtual spaces for promoting their art and building an artistic identity to try to enter a cultural market that has become highly competitive and launch their careers. They hope, through ‘<em class="italic">views</em>’, ‘<em class="italic">likes</em>’, ‘<em class="italic">shares’</em> and even positive comments, if not to create a <em class="italic">buzz</em>, at least to interest a producer or benefactor. Social networks are therefore of real importance in winning over an audience, a public, a ‘market’.</p><p class="p">The traditional mass media are adapting as much as possible to the new context created by new technologies by setting up websites and social <span class="page-marker"></span>networking platforms offering all or part of their programmes for free listening. The great diversity of these programmes has often been mistaken for clear evidence of the cultural imperialism of which Côte d’Ivoire (like many other countries) was a victim. The programmes could even be condemned as vectors of cultural alienation.</p><p class="p">Technology is bringing about spatio-temporal changes, particularly in the speed of access, production and distribution it offers. The very way in which music is created has changed, bringing with it a new relationship between creators and consumers, both to the world of music and to music itself. The desire to succeed has led to expatriation, particularly to Europe, to places where ‘<em class="italic">art is considered</em>’, where talent can be developed and where artistic expression can flourish.</p><p class="p">The social status and social condition of the artist, past and present, are critical sites of cultural heritage. In traditional society, the artist, the chansonnier, enjoyed (and still enjoys) an honourable status – an honourability that is above all symbolic (Séry <a class="xref bibr" href="#REFe-r-190" data-sectionId="#REFe-r-190"><span class="show-for-sr">Reference Séry</span>2015</a>; Tapé <a class="xref bibr" href="#REFe-r-192" data-sectionId="#REFe-r-192"><span class="show-for-sr">Reference Tapé and Wondji</span>1986</a>:149–151). In Nubian Africa, art was not considered the preserve of a secret society. From this came ‘a profound affirmation of people’s belief in the indivisibility of art and society’ (Achebe <a class="xref bibr" href="#REFe-r-001" data-sectionId="#REFe-r-001"><span class="show-for-sr">Reference Achebe</span>1973</a>:620). The expression ‘Nubian Africa’ (coined by Cheik Anta Diop), whose supposed unity is borrowed from theories of Africanness, has the advantage of de-racialising and de-physicalising an Africa still characterised by its ancient and modern observers as a race and an ecosystem. It also makes it possible to characterise Africa ‘in terms of social and cultural history, in short, in anthropological terms’ (Memel-Fotê <a class="xref bibr" href="#REFe-r-136" data-sectionId="#REFe-r-136"><span class="show-for-sr">Reference Memel-Fotê</span>1991</a>:1).</p><p class="p">In traditional African society, music, ‘conceived as a high ideological instance’, functioned as a socio-cultural support tool at key moments in ritual life (initiation, marriage, funerals) and in the economic and political spheres: ‘the omnipresent and omnipotent character of this music was ensured by a certain authoritative, quasi-sacred word which, in our opinion, constitutes a further demonstration of the importance attached to art in traditional society’ (Dédy <a class="xref bibr" href="#REFe-r-061" data-sectionId="#REFe-r-061"><span class="show-for-sr">Reference Dédy</span>1984</a>:113).</p><p class="p">Moreover, the fact that ‘there are no rigid barriers between the creators of culture and the consumers [and that] art belongs to everyone and is a “function” of society’ (Achebe <a class="xref bibr" href="#REFe-r-001" data-sectionId="#REFe-r-001"><span class="show-for-sr">Reference Achebe</span>1973</a>:621) comes from this Nubian Africa of the holistic concern of the societies that make it up (Achebe <a class="xref bibr" href="#REFe-r-001" data-sectionId="#REFe-r-001"><span class="show-for-sr">Reference Achebe</span>1973</a>; Dédy <a class="xref bibr" href="#REFe-r-060" data-sectionId="#REFe-r-060"><span class="show-for-sr">Reference Dédy and Wondji</span>1986</a>; Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>; Séry <a class="xref bibr" href="#REFe-r-190" data-sectionId="#REFe-r-190"><span class="show-for-sr">Reference Séry</span>2015</a>). Musical performances are a good illustration of this: the Western divide between stage and audience is erased when spectators, no longer able to hold back, burst in during the concert to encourage the artist (by wiping his forehead, dancing a little with him, kissing him, giving him banknotes, etc.). Like the <em class="italic">bagnon of</em> the <em class="italic">Krou</em> societies of western and central western Côte <span class="page-marker"></span>d’Ivoire, the artist, whether a star or just passing through, is admired physically, morally and intellectually (Wondji <a class="xref bibr" href="#REFe-r-219" data-sectionId="#REFe-r-219"><span class="show-for-sr">Reference Wondji and Wondji</span>1986b</a>:59, 71). The town will only show the obvious side, that of the entertainer, the one without whom, despite everything, the party cannot be complete.</p><p class="p">Today’s artist-musicians face serious problems of recognition both during their lifetime and posthumously. Many of their works are illegally exploited. This is much more widespread than one might imagine, and does not only concern so-called ‘traditional’ or ‘local’ musicians, who are often poorly trained, but also eminent musicians with established international reputations, as in the case of Manu Dibango (cf. Pajon <a class="xref bibr" href="#REFe-r-163" data-sectionId="#REFe-r-163"><span class="show-for-sr">Reference Pajon</span>2021</a>:54–55).</p><p class="p">While the artist may enjoy a degree of honour, even symbolic, his or her social status is often precarious. Today, the singer-musician is often regarded as a ‘poor soul’, at best a penny-pincher, bohemian, unserious, flighty. His portrait as a balladeer is not very glowing. The artist-musician remained vulnerable, and many of them fell into decay and oblivion without ever having achieved fame or fortune. Appeals for charity for the health problems of this or that musician are frequently in the press. The outcome is usually fatal, and the artist dies destitute (Séry <a class="xref bibr" href="#REFe-r-190" data-sectionId="#REFe-r-190"><span class="show-for-sr">Reference Séry</span>2015</a>). In short, while the musician-artist, past and present, enjoys a certain prestige, his or her ‘social condition’ is still generally one of precariousness. This condition resurfaces at the death or funeral of a particular artist. But the problem transcends time and remains virtually unchanged.</p><p class="p">Generally speaking, there is a continuity between the popular music of yesterday and that of today. This continuity tends to be disrupted by the use of technology.</p></div><div class="sec" id="A-sec-12" data-magellan-destination="A-sec-12"><h3 class="A title"><span class="label">8</span> Between Entertainment and Popular Intellectuality </h3><p class="p">An in-depth examination of the points of rupture and continuity between the ‘traditional’ singer and the ‘modern’ singer shows that popular intellectuality constitutes the true cultural heritage of music. The music changes, but the heritage remains, ensuring a kind of artistic/intellectual continuity in the art of music. The modern popular song, elusive and untameable, is a place where popular intellectuality is expressed by singer-artists considered to be popular intellectuals.</p><p class="p">Popular music was also the ‘overlord’ of entertainment. Ordinary festive places marked by fusion, effusion and confusion, the excesses of orgiasm, become popular means of disseminating popular music and bringing it into contact with the population. These non-places (Augé <a class="xref bibr" href="#REFe-r-012" data-sectionId="#REFe-r-012"><span class="show-for-sr">Reference Augé</span>1992</a>), veritable places of enchantment (Winkin <a class="xref bibr" href="#REFe-r-216" data-sectionId="#REFe-r-216"><span class="show-for-sr">Reference Winkin</span>2001</a>), liminoid spaces (Turner <a class="xref bibr" href="#REFe-r-204" data-sectionId="#REFe-r-204"><span class="show-for-sr">Reference Turner</span>1988</a>), are also places where artists-singers perform. Performed music, a living spectacle, restores and <span class="page-marker"></span>mobilises the physicality of the spoken word, unlike writing. Modern popular song thus reflects the heritage of the ‘traditional’ storyteller/musician and the question of the ‘message’ or ‘moral’ of the story being told, and how this fits in with the (bizarre) democratic order.</p><p class="p">The artist is, physically or through the mediation of the recording, at once the master, the host, the soul, the spirit, the breath of the party (Duvignaud <a class="xref bibr" href="#REFe-r-071" data-sectionId="#REFe-r-071"><span class="show-for-sr">Reference Duvignaud</span>1991</a>). He is a liminal being (Turner <a class="xref bibr" href="#REFe-r-205" data-sectionId="#REFe-r-205"><span class="show-for-sr">Reference Turner</span>1969[1997]</a>) in the same way as (<em class="italic">home)</em>studio arrangers. He gives of himself and his talent. The affirmation of the gift lies in the idea that ‘the link is more important than the material [good]’ (Caillé <a class="xref bibr" href="#REFe-r-048" data-sectionId="#REFe-r-048"><span class="show-for-sr">Reference Caillé</span>2007</a>:9). Giving implies alliance and communion. The artist (in this case the musician) ‘gives’ to others something that may be the gift of self or the gift of speech. Artistic speech is an immemorial means by which ‘man has always used art as a means of becoming aware of the highest ideas and interests of his mind. Peoples have deposited their highest conceptions in the productions of art, have expressed them and have become aware of them by means of art’ (Hegel ed. <a class="xref bibr" href="#REFe-r-097" data-sectionId="#REFe-r-097"><span class="show-for-sr">Reference Hegel</span>1964</a>:12–13). The artist-singer, guardian of moral values (Tapé <a class="xref bibr" href="#REFe-r-193" data-sectionId="#REFe-r-193"><span class="show-for-sr">Reference Tapé and Wondji</span>1986b</a>), offers the world the object of his creative inspiration, the fruit of his reflections, his thoughts. Yet they remain attached to what they ‘give’, because there is always something of themselves in their work. This gift of knowledge and/or self contains a link. The artist-musician is this human benefactor who, by giving his life and labour to the community, manifests ‘the joy of giving in public, the pleasure of generous artistic expenditure; the pleasure of hospitality and of private and public celebration’, following an enduring principle: ‘to come out of oneself, to give, freely and obligatorily’ (Mauss <a class="xref bibr" href="#REFe-r-133" data-sectionId="#REFe-r-133"><span class="show-for-sr">Reference Mauss</span>1925[2012]</a>:216–222). What’s more: ‘If we give things and return them, it’s because we give and return <em class="italic">each other</em> “respects” – we still say “courtesies”. But it’s also because we give <em class="italic">ourselves</em> by giving, and if we give <em class="italic">ourselves</em>, it’s because we “owe” <em class="italic">ourselves –</em> ourselves and our property – to others’ (Mauss <a class="xref bibr" href="#REFe-r-133" data-sectionId="#REFe-r-133"><span class="show-for-sr">Reference Mauss</span>1925[2012]</a>:171). It is in this way, in a logic of counter-giving itself calling for emulation-competition/competition between (counter-)givers, that we can explain/understand the (re)actions, burlesque in appearance, of the audience (see above) who come into direct contact with the performer.</p><p class="p">The artist-musician is the ‘man of the people’, a kind of folk hero whose philosophy is based primarily on faith in the social group to which he belongs, because ‘in a diffuse way, he thinks things the way he does: the man of the people thinks that such a large mass cannot be so completely wrong’ (Gramsci <a class="xref bibr" href="#REFe-r-092" data-sectionId="#REFe-r-092"><span class="show-for-sr">Reference Gramsci</span>1983</a>:154). This is what makes the artist a voice of the people.</p><p class="p">Like the folk tale, the song of the <em class="italic">tohourou</em> or the melody of the chansonnier, the modern folk song tells an entertaining story, can ‘create a spectacle that is at the same time a place of truth. Of course, the story (<em class="italic">fabula</em>) changes, since it <span class="page-marker"></span>depends on circumstances and other more or less controlled events’ (Bahi <a class="xref bibr" href="#REFe-r-021" data-sectionId="#REFe-r-021"><span class="show-for-sr">Reference Bahi</span>1994</a>:251). The modern singer pulls ‘strings’ from all possible repertoires, borrowing procedures, formulas, allegories and metaphorical subtleties from the traditional masters of the spoken word for his sung narratives.</p><p class="p">Popular music <em class="italic">in the broadest sense of the term</em> is also the expression of a popular intellectuality. The expression ‘popular intellectual’ may seem surprising because it combines two apparently antinomic terms. ‘Intellectuality’ here refers to the fact that a person is intellectual, or to his or her ability to be intellectual. Most conceptions of the intellectual are not free of elitist considerations. The intellectual is not necessarily a Western scholar. The scholar is not necessarily an intellectual (Sartre <a class="xref bibr" href="#REFe-r-184" data-sectionId="#REFe-r-184"><span class="show-for-sr">Reference Sartre</span>1972</a>; Wondji <a class="xref bibr" href="#REFe-r-218" data-sectionId="#REFe-r-218"><span class="show-for-sr">Reference Wondji and Wondji</span>1986a</a>; Séry <a class="xref bibr" href="#REFe-r-190" data-sectionId="#REFe-r-190"><span class="show-for-sr">Reference Séry</span>2015</a>). Reflection on the intellectual is always threatened by a certain intellectualism that is itself imbued with a certain elitism.</p><p class="p">The term ‘popular’ presupposes and posits the most effective language and mode of resistance (Hall <a class="xref bibr" href="#REFe-r-095" data-sectionId="#REFe-r-095"><span class="show-for-sr">Reference Hall and Cervulle</span>2007</a>). A world-famous – and therefore popular – intellectual is no less an intellectual. As a result of globalisation and the ability of individuals to make themselves ‘heard’, no one has a monopoly on legitimate intellectual thought. The artist-musician, as a free-spirited man of the people, has a certain authority, and is often even authoritative, because people recognise his behaviour, his ‘knowledge and skills’, and see in him an exceptional being.</p><p class="p">The artist-musician is the ideological and moral sentinel of society (and not just of the village from which he comes). As an intellectual born of the people, he speaks with authority by virtue of his social position. Words of authority operate ‘thanks to the assistance of social mechanisms capable of producing that complicity, based on ignorance, which is at the root of all authority’ (Bourdieu <a class="xref bibr" href="#REFe-r-042" data-sectionId="#REFe-r-042"><span class="show-for-sr">Reference Bourdieu</span>1992</a>:113). Authority refers to the social unconscious. It is ‘the attestation of the order of values, representations and systems of unconscious representations to which individuals and groups refer in life’ (Moreau de Bellaing <a class="xref bibr" href="#REFe-r-143" data-sectionId="#REFe-r-143"><span class="show-for-sr">Reference Moreau de Bellaing</span>1990</a>:62). The artist-musician is thus a non-authoritarian authority, even a ‘charismatic’ authority (Weber <a class="xref bibr" href="#REFe-r-215" data-sectionId="#REFe-r-215"><span class="show-for-sr">Reference Weber</span>1971[1995]</a>:320, 325) as much as a traditional or rational authority, because of his exceptional qualities. There is a continuity between this authority operating mainly in primary sociality (on the scale of the village, neighbourhood or maquis), and that acting in secondary sociality (in global social relations) (Moreau de Bellaing <a class="xref bibr" href="#REFe-r-143" data-sectionId="#REFe-r-143"><span class="show-for-sr">Reference Moreau de Bellaing</span>1990</a>:58–59). The artist-musician embodies the reminiscences of an anthropological form of authority, separate from power, invested with a ‘mythical’ authority that legitimises his acts and (sung) words.</p><p class="p">Thus, the (original) griot, the Bété <em class="italic">tohourou</em>, the Baoulé chansonnier and the sénoufo <em class="italic">djéguélés</em> perform educational, social, ethical and political functions (Wondji <a class="xref bibr" href="#REFe-r-219" data-sectionId="#REFe-r-219"><span class="show-for-sr">Reference Wondji and Wondji</span>1986b</a>; Camara <a class="xref bibr" href="#REFe-r-049" data-sectionId="#REFe-r-049"><span class="show-for-sr">Reference Camara</span>1992</a>; <a class="xref bibr" href="#REFe-r-112" data-sectionId="#REFe-r-112"><span class="show-for-sr">Reference Koné and Paris</span>Koné 2020</a>). However, ‘no musical form carries <span class="page-marker"></span>with it the slightest political or social orientation’ (Martin <a class="xref bibr" href="#REFe-r-171" data-sectionId="#REFe-r-171"><span class="show-for-sr">Reference Martin</span>2000</a>:170), so it is a social desire to invert or convert music to this task that is at work. The griot, master of the spoken word and a plural character, strengthens the social bond ‘through multiform mediation between all the actors in the community. This generally makes him a public figure and an intellectual among the intellectuals of the city’ (Ouattara <a class="xref bibr" href="#REFe-r-159" data-sectionId="#REFe-r-159"><span class="show-for-sr">Reference Ouattara</span>2018</a>:44). Alongside storytellers and healers, these singer-artists are part of local intellectual traditions.</p><p class="p"><em class="italic">Nolens volens</em>, these artist-musicians are ‘elites of intellectuals of a new type [emerging] directly from the mass out while remaining in contact with it’ (Gramsci <a class="xref bibr" href="#REFe-r-092" data-sectionId="#REFe-r-092"><span class="show-for-sr">Reference Gramsci</span>1983</a>:155). As an intellectual, the artist is a model for others: ‘the artist of yesterday resembles the intellectual of today. He influences society through the beauty of his ideas’ (Tapé <a class="xref bibr" href="#REFe-r-193" data-sectionId="#REFe-r-193"><span class="show-for-sr">Reference Tapé and Wondji</span>1986b</a>:151). From the Masque chanteur, to the <em class="italic">Tohourou</em>, to the ‘traditional chansonnier’, then to the modern singer, there seems to be continuity rather than rupture. The popular intellectual himself is a spokesman for the people. A hero as much as a herald, heroic because heraldic, the popular singer is allowed to give advice, to teach in the public square. With a ‘didactic’ aim, these narrations are a mirror of society’s ethical conceptions (Bahi <a class="xref bibr" href="#REFe-r-021" data-sectionId="#REFe-r-021"><span class="show-for-sr">Reference Bahi</span>1994</a>). Giving advice, teaching and moralising are often done through a diversion, in allegorical form. There are many examples. ‘Several songs evoke in humorous terms the pain of Africans faced with a life they have no control over and which eludes them’ (Mbembe <a class="xref bibr" href="#REFe-r-135" data-sectionId="#REFe-r-135"><span class="show-for-sr">Reference Mbembe</span>1985</a>:143). Artists are not necessarily commissioned or paid to do this. They take their responsibilities.</p><p class="p">As a performance and an artistic space, an emotive and poetic instance (Herndon <a class="xref bibr" href="#REFe-r-100" data-sectionId="#REFe-r-100"><span class="show-for-sr">Reference Herndon and Bauman</span>1992</a>:164), popular song is a purveyor of ‘myths’ (Lévi-Strauss <a class="xref bibr" href="#REFe-r-126" data-sectionId="#REFe-r-126"><span class="show-for-sr">Reference Lévi-Strauss</span>1958[1974]</a>) and is endowed with an interpellative, referential and conative capacity, hence its communicative competence. Once disseminated by the media, it lends itself easily to consciousness-raising initiatives. Popular song, an activity of the mind by artists who are often committed to delivering the fruits of their reflections in the public arena, is one of the places where popular intellectuality is expressed. This intellectuality is deeply rooted in culture, particularly ‘tradition’ (the singer-songwriter mask, etc.), whose mutations place today’s modern artist in a logic of continuity. With technology, the modern artist-singer remodels features of the traditional artist-singer and extends the <em class="italic">tekhnè</em> (Laye <a class="xref bibr" href="#REFe-r-122" data-sectionId="#REFe-r-122"><span class="show-for-sr">Reference Laye</span>1978</a>; Wondji <a class="xref bibr" href="#REFe-r-219" data-sectionId="#REFe-r-219"><span class="show-for-sr">Reference Wondji and Wondji</span>1986b</a>; Camara <a class="xref bibr" href="#REFe-r-049" data-sectionId="#REFe-r-049"><span class="show-for-sr">Reference Camara</span>1992</a>): ‘yesterday’s artist resembles today’s intellectual. He influences society through the beauty of his ideas’ (Tapé <a class="xref bibr" href="#REFe-r-193" data-sectionId="#REFe-r-193"><span class="show-for-sr">Reference Tapé and Wondji</span>1986b</a>:151).</p><p class="p">Musician-artists can be considered as ‘popular intellectuals’, in the same way as street discussion leaders who call themselves ‘street intellectuals’ (Bahi <a class="xref bibr" href="#REFe-r-016" data-sectionId="#REFe-r-016"><span class="show-for-sr">Reference Bahi</span>2013</a>). The intellectual of the traditional milieu, the ‘village intellectual’ (Séry <a class="xref bibr" href="#REFe-r-190" data-sectionId="#REFe-r-190"><span class="show-for-sr">Reference Séry</span>2015</a>:44, 46), the ‘vernacular intellectual’ (Farred <a class="xref bibr" href="#REFe-r-075" data-sectionId="#REFe-r-075"><span class="show-for-sr">Reference Farred</span>2003</a>), is not the literate person of the village, the one who attended school. ‘An “illiterate intellectual”, <span class="page-marker"></span>he is one of the “traditionalists”, “wise men” and thinkers who, along with politicians and journalists, “function as” intellectuals’ (Copans <a class="xref bibr" href="#REFe-r-057" data-sectionId="#REFe-r-057"><span class="show-for-sr">Reference Copans</span>1993</a>:8). Unlike the modern African intellectual, the illiterate ‘traditional’ intellectual is neither an ‘outsider’ among his own people (Toulabor <a class="xref bibr" href="#REFe-r-198" data-sectionId="#REFe-r-198"><span class="show-for-sr">Reference Toulabor</span>1993</a>), nor the regal heir of the colonial state. Rather, he is one of its collateral victims, reduced to a ‘folkloric’ figure in the most depreciatory sense of the term. It has remained present in society and active at key moments in social life (celebrations, commemorations, funerals, etc.). But this reduction has, if not reduced him to symbolic death, at least neutralised his action.</p><p class="p">Figures of popular culture, these authentic ‘intellectuals from below’ (Touraine 1992), can be called ‘invisible intellectuals’ because they are ‘actors in the processes of intelligibility of the world who are not yet socially stamped and classified in a special category’ (Copans <a class="xref bibr" href="#REFe-r-057" data-sectionId="#REFe-r-057"><span class="show-for-sr">Reference Copans</span>1993</a>:17). Singers and other intermediate categories (investigative journalists), these ‘<em class="italic">practitioners of the unveiling of the reality effect are invisible intellectuals</em> … sensitive to the expectations of their real, imaginary or simply potential audiences’ (Copans <a class="xref bibr" href="#REFe-r-057" data-sectionId="#REFe-r-057"><span class="show-for-sr">Reference Copans</span>1993</a>:23–24). Ultimately, whatever their training and trajectory, the characteristic of these intellectuals or thinkers is ‘vernacularity’, indicating ‘the discursive hijacking of the accepted dominant intellectual modality and vocabulary and the adoption of a new positioning and idiomatic language’ (Farred <a class="xref bibr" href="#REFe-r-075" data-sectionId="#REFe-r-075"><span class="show-for-sr">Reference Farred</span>2003</a>:11).</p><p class="p">Contrary to prevailing conceptions, intellectuality is not the exclusive preserve of people who are necessarily educated in Western schools, inevitably candidates for assimilation and inevitably doomed to cultural alienation. A distinction can be made between ‘intellectuals’ and ‘technicians of practical knowledge’ (Sartre <a class="xref bibr" href="#REFe-r-184" data-sectionId="#REFe-r-184"><span class="show-for-sr">Reference Sartre</span>1972</a>:16–18). These two social categories are often confused. In most conceptualisations of intellectuals, the latter takes precedence over the former. However erudite they may be, specialists in practical knowledge are not necessarily ‘intellectuals’.</p><p class="p">Today, the term ‘intellectual’ is somewhat overused. While they were often the soul of liberating nationalisms, they have become the blemish of the post-colonial era, going ‘from the status of a badge of pride to a term of abuse and derision’ (Mkandawire <a class="xref bibr" href="#REFe-r-140" data-sectionId="#REFe-r-140"><span class="show-for-sr">Reference Mkandawire and Mkandawire</span>2005</a>:3). The image of the ‘classical’ intellectual elites from Western schools is a mixed one. They enjoy a certain prestige because of their cultural, economic, social and even symbolic capital (Bourdieu), which makes them invaluable supporters. But at the same time, they are seen as corrupt (‘<em class="italic">they eat</em>’, and often ‘<em class="italic">alone’</em>), far removed from the concerns of ordinary people, and are therefore in a certain disgrace in people’s minds. In many rural areas, they are referred to as ‘Whites’, illustrating the distance that separates them from their compatriots. Worse still, they are seen as accomplices, if not culprits, in the country’s relative failure.</p><p class="p"><span class="page-marker"></span>Popular intellectuals are not simply relays of ‘patented’ (‘classic’) intellectuals. They do more than simply take over from the patent intellectuals ‘in the field of social criticism, while at the same time taking on the educational function traditionally assigned to them’ (Albert & Kouvouama <a class="xref bibr" href="#REFe-r-005" data-sectionId="#REFe-r-005"><span class="show-for-sr">Reference Albert, Kouvouama, Maupeu, Albert and Kouvouama</span>2007</a>:17). The novelty comes from the late discovery of this ancient cultural trait by these Western scholars and their late interest in the figure of the singer-artist. This traditional intellectual function is often overlooked in popular music research. Instead, folk singers develop an intellectuality fuelled by the currents of thought, causes and debates of their time. They fulfil a mission of popular consciousness. The exercise of this popular intellectuality, which constitutes another voice of social criticism, does not delegitimise the function and role of the ‘classical’ (‘patented’) intellectual. But this position of the popular intellectual is relatively uncomfortable because, <em class="italic">nolens volens,</em> the intellectual and the popular are in a relationship of complementarity as much as contradiction, ‘a paradoxical relationship’ (Albert & Kouvouama <a class="xref bibr" href="#REFe-r-005" data-sectionId="#REFe-r-005"><span class="show-for-sr">Reference Albert, Kouvouama, Maupeu, Albert and Kouvouama</span>2007</a>).</p><p class="p">However, the popular intellectual (coming from the people and speaking in their name), given his cultural capital and the distance thus induced, remains in a situation of exteriority and his discourse remote from the people (Albert & Kouvouama <a class="xref bibr" href="#REFe-r-005" data-sectionId="#REFe-r-005"><span class="show-for-sr">Reference Albert, Kouvouama, Maupeu, Albert and Kouvouama</span>2007</a>:17). Singer-artists (griots, storytellers or genealogists, traditional songwriters, etc.), as scholars, custodians of traditions and creators of culture, belong to the corporation or community of intellectuals. The concept of the popular intellectual is thus part of an Indigenous definition of intellectuals ‘from below’ – ‘traditional’ society and the ‘people’ being dominated by (post)modern Western society. It is reinforced by a sense of cultural continuity and a reinvention of the social role of the artist.</p><p class="p">As members of an ‘interpretative community’, popular intellectuals propose ‘representations’ of their society (Becker <a class="xref bibr" href="#REFe-r-032" data-sectionId="#REFe-r-032"><span class="show-for-sr">Reference Becker</span>2009</a>:19). In so doing, they set themselves up as spokespersons for this community, while at the same time taking a stand. He then produces ‘A report on social reality [that] is [therefore] an artefact consisting of statements of fact, based on evidence acceptable to a given audience, and interpretations of these facts, also acceptable to that audience’ (Becker <a class="xref bibr" href="#REFe-r-032" data-sectionId="#REFe-r-032"><span class="show-for-sr">Reference Becker</span>2009</a>:28). In the current conditions of production and circulation of musical works, these artists are more likely to be relays of popular social criticism (Albert & Kouvouama <a class="xref bibr" href="#REFe-r-005" data-sectionId="#REFe-r-005"><span class="show-for-sr">Reference Albert, Kouvouama, Maupeu, Albert and Kouvouama</span>2007</a>:18). Popular music is thus one of the expressions of the infra-politics of the dominated (Scott <a class="xref bibr" href="#REFe-r-188" data-sectionId="#REFe-r-188"><span class="show-for-sr">Reference Scott</span>2009</a>). These reports on society (these representations of society) ‘are demonstrations designed to persuade their audience of something, if only by taking that something for granted’ (Becker <a class="xref bibr" href="#REFe-r-032" data-sectionId="#REFe-r-032"><span class="show-for-sr">Reference Becker</span>2009</a>:41). The way power is expressed through humour and derision conceals a great deal of violence. It echoes the expression of ordinary violence (ordinary verbal violence, street violence, etc.).</p><p class="p"><span class="page-marker"></span>There is certainly a risk that the entertainment aspect will be perceived but not the ‘didactic’ one. Moreover, the step from awareness to manipulation (influence, effect-efficiency, consequence) is a short one. Modern popular music is not a manipulative device performed by musicians under orders. Through it, young popular intellectuals have discovered their mission and are fulfilling it (Fanon <a class="xref bibr" href="#REFe-r-074" data-sectionId="#REFe-r-074"><span class="show-for-sr">Reference Fanon</span>1961[2002]</a>:197) in order to influence decisions and assume their responsibilities before history (Dagri <a class="xref bibr" href="#REFe-r-059" data-sectionId="#REFe-r-059"><span class="show-for-sr">Reference Dagri</span>2019b</a>).</p><p class="p">The artist’s ‘vocation is to educate men, and he must be continually vigilant in his role as guide’ (Masselis <a class="xref bibr" href="#REFe-r-131" data-sectionId="#REFe-r-131"><span class="show-for-sr">Reference Masselis</span>2016</a>; Plato <a class="xref bibr" href="#REFe-r-169" data-sectionId="#REFe-r-169"><span class="show-for-sr">Reference Plato</span>1966</a>:126–127). The singer may be a poet or a chronicler. As a poet, he deals with the general; as a chronicler, he deals with the particular. The difference between the poet and the chronicler is not one of expression, in verse or prose. Rather, ‘one tells what has happened, the other what might happen; for this reason poetry is more philosophical than chronicle: poetry deals more with the general, chronicle with the particular’ (Aristotle <a class="xref bibr" href="#REFe-r-009" data-sectionId="#REFe-r-009"><span class="show-for-sr">Reference Aristotle</span>1980</a>).</p><p class="p">Because of their very nature and social formation, intellectuals develop much more slowly than other social groups. ‘They represent the entire cultural tradition of a people, and want to summarise and synthesise its entire history’ (Gramsci <a class="xref bibr" href="#REFe-r-092" data-sectionId="#REFe-r-092"><span class="show-for-sr">Reference Gramsci</span>1983</a>:100). Their mission is to be educators, teachers (Gramsci <a class="xref bibr" href="#REFe-r-092" data-sectionId="#REFe-r-092"><span class="show-for-sr">Reference Gramsci</span>1983</a>:50). There is always more or less a gap between the intellectual (higher) categories and the masses (lower) categories, which makes the intellectuals’ task difficult. But what is most notable is that Ivorian intellectuals (as it happens) symbolically leave a void characterised by this situation (Eboussi-Boulaga <a class="xref bibr" href="#REFe-r-072" data-sectionId="#REFe-r-072"><span class="show-for-sr">Reference Eboussi Boulaga</span>1977</a>). This loss of reference points and values is replaced by a technicist and economic discourse of development. This headlong rush impoverishes the debate and leaves Africans with a deep sense of backwardness and exclusive guilt. These popular intellectuals have been trying to fill this gap ever since. These popular intellectuals would somehow fulfil the authentic (true) mission of intellectuals. But would these popular intellectuals really be able to bridge the gap (the distance) between the intellectuals and the ‘popular masses’? Can they escape the attempts to tame power? Power is always trying to tame the arts, and music is communication. Communication ‘converts relations of brute force, always uncertain and liable to be suspended, into lasting relations of symbolic power by which we are held and to which we feel held’ (Bourdieu <a class="xref bibr" href="#REFe-r-041" data-sectionId="#REFe-r-041"><span class="show-for-sr">Reference Bourdieu</span>1997</a>:237).</p><p class="p">There is always something disloyal or treacherous about African criticism of Africa and Africans. Certain criticisms and self-criticisms by patent African intellectuals, endorsed and authorised by the normal science of the former coloniser, anointed by the dominators of this world, talking from the West, and quick to give lessons to Africans, play right into the hands of Western domination. The African intellectual, aware of his double game, his murky game, his concupiscence, knows that he is part of the problems he wants to <span class="page-marker"></span>solve. Popular music can play the role of ‘tutor’, ‘adviser’ or even ‘censor’ (Gondola <a class="xref bibr" href="#REFe-r-090" data-sectionId="#REFe-r-090"><span class="show-for-sr">Reference Gondola</span>1997</a>:58).</p><p class="p">On the strength of their intellectuality and their charismatic authority recognised by their audience, singers can tackle all sorts of subjects, but in their own way. Musicians talk about [certain aspects of] society, talk about [certain aspects of] everyday life: song lyrics are ways of talking about society: they often contain ‘relevant observations about the organisation and functioning of society [which are also] ways in which people tell others what they know about their society, or about another that interests them’ (Becker <a class="xref bibr" href="#REFe-r-032" data-sectionId="#REFe-r-032"><span class="show-for-sr">Reference Becker</span>2009</a>:18–19) and which therefore constitute what Becker describes as ‘reports on society’ or ‘representations of society’ (Becker <a class="xref bibr" href="#REFe-r-032" data-sectionId="#REFe-r-032"><span class="show-for-sr">Reference Becker</span>2009</a>:19). This inevitably raises the question of voice and, in particular, of ‘who speaks’ in these ‘reports’ or ‘representations’: in our view, it is the ‘popular intellectuals (or even intellectuals of the popular)’.</p><p class="p">Songs often have allusive verses. These allusions are broad enough to include all sorts of changes and all sorts of interpretations. In this way, the artist exercises his critical reason. In fact, it is also an exercise in citizenship, or at least an exercise in citizenship. Depending on his commitment, he may engage in social criticism. Social criticism is the denunciation of the social order, authority (or power), inequalities (social, economic, etc.) or shortcomings (morals, for example). ‘Social criticism criticises the established order in the name of an ideal, more “just”, more “rational” order; it is a devaluation that presupposes a valorisation. It works in the same way as satire in the theatre or the novel: <em class="italic">castigat</em> (not always) <em class="italic">ridendo mores in</em> relation to an implicit norm’ (Grignon <a class="xref bibr" href="#REFe-r-093" data-sectionId="#REFe-r-093"><span class="show-for-sr">Reference Grignon</span>2000</a>:106). This social criticism can take a satirical turn. Social satire is the criticism of society through mockery and caricature. Popular song lends itself well to mockery and parody.</p><p class="p">The song can be harsh and the singer, in revolt, can rant about the harshness of life, the ‘daily miseries’, the ‘lost hopes’, and criticise the listeners themselves. She also takes the liberty, albeit cautiously, of denouncing ‘the modes of accumulation of goods at work in contemporary African societies [and] the arrogance of the rich, the lessons of the lives of the poor’ (Mbembe <a class="xref bibr" href="#REFe-r-135" data-sectionId="#REFe-r-135"><span class="show-for-sr">Reference Mbembe</span>1985</a>:143). It is thus one of the ‘social revelators’ (Balandier <a class="xref bibr" href="#REFe-r-023" data-sectionId="#REFe-r-023"><span class="show-for-sr">Reference Balandier</span>1985</a>). It can be seen as the writing of a collective self, an act of revolt, in an intellectual and even scientific context marked by a certain trivialisation of the word ‘globalisation’. Popular music does not legitimise the hegemonic discourse of the master, of the ‘big boys’, an echo of the authorised word of power. Rather, it constitutes a counter-discourse representing the voices coming from below, from the ‘little people’, a return of the <em class="italic">vox populi</em>.</p><p class="p">Popular song is an expression of the anxieties and aspirations of a society, the anxieties and aspirations of the social groups that promote it. As well as being cathartic, popular song is also a means of expressing the social imagination of <span class="page-marker"></span>groups. Thus, in the examples cited earlier, singer-artists can appear as popular intellectuals, ‘relays of social criticism’ (Albert & Kouvouama <a class="xref bibr" href="#REFe-r-005" data-sectionId="#REFe-r-005"><span class="show-for-sr">Reference Albert, Kouvouama, Maupeu, Albert and Kouvouama</span>2007</a>:18) and even spokespersons for protest.</p><p class="p">Can these popular intellectuals do anything different from the ‘official’ intellectuals, who are often organic (Gramsci), trained in the perspective of the former colonial masters, full of diplomas and Western-centric theories, and the architects of Africa’s disenchantment? ‘The efforts of the colonised to rehabilitate themselves and escape the colonial bite are logically part of the same perspective as that of colonialism’. (Fanon <a class="xref bibr" href="#REFe-r-074" data-sectionId="#REFe-r-074"><span class="show-for-sr">Reference Fanon</span>1961[2002]</a>:159). Following on from this idea, the ‘postcolonial’ African intellectual could only really free himself from the persistent ‘bite’ of resilient colonialism by rallying the peasant masses. To Fanon’s already broad conception of the intellectual, including what Sartre calls the ‘technicians of practical knowledge’ (Sartre <a class="xref bibr" href="#REFe-r-184" data-sectionId="#REFe-r-184"><span class="show-for-sr">Reference Sartre</span>1972</a>:13), we add artist-musicians, including singers. This is a kind of ‘field intellectual’, capable of bridging the inevitable gap between the intellectuals and the masses. That’s what many singers say – ‘<em class="italic">we’re in the field</em>’, which implies ‘we know what’s going on’. These African intellectuals, ‘by the kilo’, parrots, ‘potted plants’ raised in greenhouses, incapable of producing original thought, willingly maintaining their subaltern status (Nyamnjoh <a class="xref bibr" href="#REFe-r-155" data-sectionId="#REFe-r-155"><span class="show-for-sr">Reference Nyamnjoh</span>2012</a>) – can they speak?</p><p class="p">They are condemned to remain in the shadow of the master (Armah <a class="xref bibr" href="#REFe-r-010" data-sectionId="#REFe-r-010"><span class="show-for-sr">Reference Armah</span>1972[1981]</a>), at best to the mystification of the simulacrum to increase his prestige and authority over others, at worst to a perfidious ruse borrowing the resources of the Western dominator in a mystifying violence (Derrida <a class="xref bibr" href="#REFe-r-062" data-sectionId="#REFe-r-062"><span class="show-for-sr">Reference Derrida</span>1966</a>). The logic of imitation is close to that of counterfeiting. This kind of simulacrum is at the heart of the processes and procedures for seizing (or retaining) power by intellectuals drained by the bite of resilient colonialism.</p><p class="p">Every government has its artists and ‘acrobats’, as well as its appointed or authorised intellectuals, when these do not simply become political players (N’Da <a class="xref bibr" href="#REFe-r-147" data-sectionId="#REFe-r-147"><span class="show-for-sr">Reference N’Da</span>1999</a>:211–212). This endorsement of Ivorian musical artists, which has varied over time, aims to exalt Ivorian pride. Power domesticates the arts. Song – the sung word – like tales, proverbs and metaphors, is a disguised form of communication. The choice of form of communication, particularly the satire that popular song readily indulges in, is crucial to correcting morals, regardless of social category or privilege, by entertaining and even mocking. The popular intellectual, ‘creator [from] the people’ (Mouchtouris <a class="xref bibr" href="#REFe-r-144" data-sectionId="#REFe-r-144"><span class="show-for-sr">Reference Mouchtouris</span>2007</a>:139), often very close to their social and political expectations, is the object of covetousness. It is liable to be used or manipulated by entrepreneurs or political parties, or by those in power whose attitude to popular music (e.g. <em class="italic">mapouka,</em> sometimes consumed, sometimes censored) is ambiguous or even hypocritical. What remains is self-censorship or the love song as an outlet for freedom.</p></div></div></div></div><div class="book-back"><div class="book-part series-page" id="EMT-bp-1" data-magellan-destination="EMT-bp-1"><div class="body"><div class="sec" id="A-sec-13" data-magellan-destination="A-sec-13"><ul class="list simple"><li class="list-item"><p class="p series-editor"> Kristian Kristiansen</p></li><li class="list-item"><p class="p aff"> <em class="italic">University of Gothenburg</em></p></li></ul><ul class="list simple"><li class="list-item"><p class="p series-editor"> Michael Rowlands</p></li><li class="list-item"><p class="p aff"> <em class="italic">UCL</em></p></li></ul><section><header><hgroup><h2 class="title"> About the Series </h2></hgroup></header><ul class="list simple"><li class="list-item"><p class="p"> This series focuses on the recently established field of Critical Heritage Studies. Interdisciplinary in character, it brings together contributions from experts working in a range of fields, including cultural management, anthropology, archaeology, politics, and law. The series will include volumes that demonstrate the impact of contemporary theoretical discourses on heritage found throughout the world, raising awareness of the acute relevance of critically analysing and understanding the way heritage is used today to form new futures.</p></li></ul></section></div></div></div><div class="book-part series-page" id="EMT-bp-2" data-magellan-destination="EMT-bp-2"><div class="back"><section></section></div></div></div></article></div></div> <hr aria-hidden="true" class="list-divider separator default" data-v-7036083a> <div id="footnotes-list" class="circle-list"><h2>Footnotes</h2> <div data-type="fulltextNote" id="FN-fn-1" class="circle-list__item"> <div class="circle-list__item__indicator"></div> <div class="circle-list__item__grouped"><div class="circle-list__item__grouped__content"><p class="p"><span class="label"><sup class="sup">1</sup></span> <em class="italic">Djuésrofouè</em> lit. ‘the one who sings’ …</p></div></div></div><div data-type="fulltextNote" id="FN-fn-2" class="circle-list__item"> <div class="circle-list__item__indicator"></div> <div class="circle-list__item__grouped"><div class="circle-list__item__grouped__content"><p class="p"><span class="label"><sup class="sup">2</sup></span> <em class="italic">Tohourou</em> litt. ‘give him advice’ …</p></div></div></div><div data-type="fulltextNote" id="FN-fn-3" class="circle-list__item"> <div class="circle-list__item__indicator"></div> <div class="circle-list__item__grouped"><div class="circle-list__item__grouped__content"><p class="p"><span class="label"><sup class="sup">3</sup></span> Dictionnaire de sociologie Robert/Seuil (1999:270).</p></div></div></div></div> <hr aria-hidden="true" class="list-divider separator default" data-v-7036083a> <div id="references-list" class="circle-list"><h2>References</h2> <div id="REFe-r-001" aria-flowto="reference-1-content reference-1-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 1 in the content" id="reference-1-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-1-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Achebe</span>, <span class="given-names">C.</span></span>, <span class="year">1973</span>, ‘<span class="article-title">Africa and her writers</span>’, <span class="source">The Massachusetts Review</span>, Vol. <span class="volume">14</span>, No. <span class="issue">3</span>, (Summer), pp. <span class="fpage">617</span>–<span class="lpage">629</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Africa and her writers' href=https://scholar.google.com/scholar_lookup?title=Africa+and+her+writers&author=Achebe+C.&publication+year=1973&journal=The+Massachusetts+Review&volume=14&pages=617-629>Google Scholar</a></div></div></div><div id="REFe-r-002" aria-flowto="reference-2-content reference-2-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 2 in the content" id="reference-2-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-2-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Adorno</span>, <span class="given-names">T. W.</span></span>, <span class="year">1962</span>, <span class="source">Philosophie de la nouvelle musique</span>, <span class="publisher-loc">Paris, Gallimard, coll. Tel.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Philosophie de la nouvelle musique' href=https://scholar.google.com/scholar_lookup?title=Philosophie+de+la+nouvelle+musique&author=Adorno+T.+W.&publication+year=1962>Google Scholar</a></div></div></div><div id="REFe-r-003" aria-flowto="reference-3-content reference-3-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 3 in the content" id="reference-3-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-3-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Agawu</span>, <span class="given-names">K.</span></span>, <span class="year">2016</span>, <span class="source">The African Imagination in Music</span>, <span class="publisher-loc">London, Oxford University Press</span>. DOI: <a class="uri" href="https://doi.org/10.1093/acprof:oso/9780190263201.001.0001">https://doi.org/10.1093/acprof:oso/9780190263201.001.0001</a>.<a class='ref-link' target='_blank' aria-label='CrossRef link for The African Imagination in Music' href=https://dx.doi.org/10.1093/acprof:oso/9780190263201.001.0001>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for The African Imagination in Music' href=https://scholar.google.com/scholar_lookup?title=The+African+Imagination+in+Music&author=Agawu+K.&publication+year=2016>Google Scholar</a></div></div></div><div id="REFe-r-004" aria-flowto="reference-4-content reference-4-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 4 in the content" id="reference-4-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-4-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Akindès</span>, <span class="given-names">S.</span></span>, <span class="year">2002</span>, ‘<span class="chapter-title">Playing it “loud and straight”’. Reggae, Zouglou Mapouka and youth insubordination in Côte d’Ivoire</span>’’, in <span class="source">Playing with Identities in Contemporary Music in Africa</span>, <span class="string-name"><span class="surname">Palmberg</span>, <span class="given-names">M.</span></span> and <span class="string-name"><span class="surname">Kirkegaard</span>, <span class="given-names">A.</span></span> (Eds.), <span class="publisher-loc">Uppsala, Nordiska Afrikainstitutet</span>, pp. <span class="fpage">99</span>–<span class="lpage">100</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Playing with Identities in Contemporary Music in Africa' href=https://scholar.google.com/scholar_lookup?title=Playing+with+Identities+in+Contemporary+Music+in+Africa&author=Akind%C3%A8s+S.&author=Palmberg+M.&author=Kirkegaard+A.&publication+year=2002&pages=99-100>Google Scholar</a></div></div></div><div id="REFe-r-005" aria-flowto="reference-5-content reference-5-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 5 in the content" id="reference-5-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-5-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Albert</span>, <span class="given-names">C.</span></span> & <span class="string-name"><span class="surname">Kouvouama</span>, <span class="given-names">A.</span></span>, <span class="year">2007</span>, ‘<span class="chapter-title">Introduction. Intellectuels populaires: Un paradoxe créatif</span>’’, in <span class="source">Intellectuels populaires: Un paradoxe créatif</span>, <span class="string-name"><span class="surname">Maupeu</span>, <span class="given-names">Hervé</span></span>, <span class="string-name"><span class="surname">Albert</span>, <span class="given-names">Christiane</span></span> & <span class="string-name"><span class="surname">Kouvouama</span>, <span class="given-names">Abel</span></span>, (Eds.), <span class="publisher-loc">Pau</span>, PU Pau et Pays de l’Adour, pp. <span class="fpage">17</span>–<span class="lpage">26</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Intellectuels populaires: Un paradoxe créatif' href=https://scholar.google.com/scholar_lookup?title=Intellectuels+populaires%3A+Un+paradoxe+cr%C3%A9atif&author=Albert+C.&author=Kouvouama+A.&author=Maupeu+Herv%C3%A9&author=Albert+Christiane&author=Kouvouama+Abel&publication+year=2007&pages=17-26>Google Scholar</a></div></div></div><div id="REFe-r-006" aria-flowto="reference-6-content reference-6-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 6 in the content" id="reference-6-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-6-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Anderson</span>, <span class="given-names">B.</span></span>, <span class="year">1983</span>, <span class="source">L’imaginaire national</span>, <span class="publisher-loc">Paris, La Découverte.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for L’imaginaire national' href=https://scholar.google.com/scholar_lookup?title=L%E2%80%99imaginaire+national&author=Anderson+B.&publication+year=1983>Google Scholar</a></div></div></div><div id="REFe-r-007" aria-flowto="reference-7-content reference-7-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 7 in the content" id="reference-7-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-7-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Appadurai</span>, <span class="given-names">A.</span></span>, <span class="year">2001</span>, <span class="source">Après le colonialisme: Les conséquences culturelles de la globalisation</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Payot</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Après le colonialisme: Les conséquences culturelles de la globalisation' href=https://scholar.google.com/scholar_lookup?title=Apr%C3%A8s+le+colonialisme%3A+Les+cons%C3%A9quences+culturelles+de+la+globalisation&author=Appadurai+A.&publication+year=2001>Google Scholar</a></div></div></div><div id="REFe-r-008" aria-flowto="reference-8-content reference-8-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 8 in the content" id="reference-8-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-8-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Arendt</span>, <span class="given-names">H.</span></span>, 1972[<span class="year">2005</span>], <span class="source">La crise de la culture</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Gallimard, Coll. Folio essais</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La crise de la culture' href=https://scholar.google.com/scholar_lookup?title=La+crise+de+la+culture&author=Arendt+H.&publication+year=2005>Google Scholar</a></div></div></div><div id="REFe-r-009" aria-flowto="reference-9-content reference-9-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 9 in the content" id="reference-9-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-9-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Aristotle</span>, </span>, <span class="year">1980</span>, <span class="source">The Poetics</span>, texte, traduction, notes par Roselyne Dupont-Roc et Jean Lallot, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Seuil</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for The Poetics' href=https://scholar.google.com/scholar_lookup?title=The+Poetics&author=Aristotle+&publication+year=1980>Google Scholar</a></div></div></div><div id="REFe-r-010" aria-flowto="reference-10-content reference-10-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 10 in the content" id="reference-10-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-10-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Armah</span>, <span class="given-names">A. K.</span></span>, <span class="year">1972</span>[1981], <span class="source">Why Are We So Blest?</span>, <span class="publisher-loc">London, Heinemann, African Writers Series</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Why Are We So Blest?' href=https://scholar.google.com/scholar_lookup?title=Why+Are+We+So+Blest%3F&author=Armah+A.+K.&publication+year=1972>Google Scholar</a></div></div></div><div id="REFe-r-011" aria-flowto="reference-11-content reference-11-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 11 in the content" id="reference-11-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-11-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Asinome</span>, <span class="given-names">E.</span></span>, <span class="year">2017</span>, ‘<span class="article-title">Vivre sa passion et gagner sa vie: Jeunes artistes du sud-ouest de Madagascar à la recherche de notoriété dans la capitale malgache</span>’, <span class="source">Afrique et Développement</span>, Vol. <span class="volume">42</span>, No. <span class="issue">2</span>, pp. <span class="fpage">173</span>–<span class="lpage">191</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Vivre sa passion et gagner sa vie: Jeunes artistes du sud-ouest de Madagascar à la recherche de notoriété dans la capitale malgache' href=https://scholar.google.com/scholar_lookup?title=Vivre+sa+passion+et+gagner+sa+vie%3A+Jeunes+artistes+du+sud-ouest+de+Madagascar+%C3%A0+la+recherche+de+notori%C3%A9t%C3%A9+dans+la+capitale+malgache&author=Asinome+E.&publication+year=2017&journal=Afrique+et+D%C3%A9veloppement&volume=42&pages=173-191>Google Scholar</a></div></div></div><div id="REFe-r-012" aria-flowto="reference-12-content reference-12-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 12 in the content" id="reference-12-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-12-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Augé</span>, <span class="given-names">M.</span></span>, <span class="year">1992</span>, <span class="source">Non-lieux. Introduction à une anthropologie de la surmodernité</span>, <span class="publisher-loc">Paris, Seuil</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Non-lieux. Introduction à une anthropologie de la surmodernité' href=https://scholar.google.com/scholar_lookup?title=Non-lieux.+Introduction+%C3%A0+une+anthropologie+de+la+surmodernit%C3%A9&author=Aug%C3%A9+M.&publication+year=1992>Google Scholar</a></div></div></div><div id="REFe-r-013" aria-flowto="reference-13-content reference-13-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 13 in the content" id="reference-13-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-13-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Babi</span>, <span class="given-names">R.</span></span>, <span class="year">2010</span>, <span class="source">Amédée Pierre, le dopé national, grand maître de la parole</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Amédée Pierre, le dopé national, grand maître de la parole' href=https://scholar.google.com/scholar_lookup?title=Am%C3%A9d%C3%A9e+Pierre%2C+le+dop%C3%A9+national%2C+grand+ma%C3%AEtre+de+la+parole&author=Babi+R.&publication+year=2010>Google Scholar</a></div></div></div><div id="REFe-r-014" aria-flowto="reference-14-content reference-14-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 14 in the content" id="reference-14-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-14-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bachimon</span>, <span class="given-names">P.</span></span>, <span class="year">2001</span>, ‘<span class="chapter-title">La “rurbanité” au Centre de la Recherche: Action</span>’, <span class="source">Sempervira</span>, No. <span class="volume">10</span>, <span class="publisher-name">Abidjan, Centre Suisse de Recherches Scientifiques</span>, pp. <span class="fpage">9</span>–<span class="lpage">12</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Sempervira' href=https://scholar.google.com/scholar_lookup?title=Sempervira&author=Bachimon+P.&publication+year=2001&pages=9-12>Google Scholar</a></div></div></div><div id="REFe-r-015" aria-flowto="reference-15-content reference-15-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 15 in the content" id="reference-15-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-15-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bahi</span>, <span class="given-names">A.</span></span>, <span class="year">2021</span>, <span class="source">Il n’y a pas de crocodiles à Cocody: Anthropologie de la communication musicale en Côte d’Ivoire</span>, <span class="publisher-loc">Bamenda, Langaa.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Il n’y a pas de crocodiles à Cocody: Anthropologie de la communication musicale en Côte d’Ivoire' href=https://scholar.google.com/scholar_lookup?title=Il+n%E2%80%99y+a+pas+de+crocodiles+%C3%A0+Cocody%3A+Anthropologie+de+la+communication+musicale+en+C%C3%B4te+d%E2%80%99Ivoire&author=Bahi+A.&publication+year=2021>Google Scholar</a></div></div></div><div id="REFe-r-016" aria-flowto="reference-16-content reference-16-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 16 in the content" id="reference-16-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-16-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bahi</span>, <span class="given-names">A.</span></span>, <span class="year">2013</span>, <span class="source">L’ivoirité mouvementée: Jeunes, médias et politique en Côte d’Ivoire</span>, <span class="publisher-loc">Bamenda, Langaa</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for L’ivoirité mouvementée: Jeunes, médias et politique en Côte d’Ivoire' href=https://scholar.google.com/scholar_lookup?title=L%E2%80%99ivoirit%C3%A9+mouvement%C3%A9e%3A+Jeunes%2C+m%C3%A9dias+et+politique+en+C%C3%B4te+d%E2%80%99Ivoire&author=Bahi+A.&publication+year=2013>Google Scholar</a></div></div></div><div id="REFe-r-017" aria-flowto="reference-17-content reference-17-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 17 in the content" id="reference-17-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-17-content" class="circle-list__item__grouped__content"><span class="page-marker"></span><span class="string-name"><span class="surname">Bahi</span>, <span class="given-names">A.</span></span>, <span class="year">2011</span>, ‘<span class="chapter-title">Musique populaire moderne et coproduction de l’imaginaire national en Côte d’Ivoire</span>’, in <span class="source">Côte d’Ivoire: La réinvention de soi dans la violence</span>, <span class="string-name"><span class="surname">Akindès</span>, <span class="given-names">Francis</span></span> (Ed.), Dakar, <span class="publisher-loc">Council for the Development of Social Science Research in Africa</span>, pp. <span class="fpage">133</span>–<span class="lpage">168</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Côte d’Ivoire: La réinvention de soi dans la violence' href=https://dx.doi.org/10.2307/j.ctvk8vz8w.10>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Côte d’Ivoire: La réinvention de soi dans la violence' href=https://scholar.google.com/scholar_lookup?title=C%C3%B4te+d%E2%80%99Ivoire%3A+La+r%C3%A9invention+de+soi+dans+la+violence&author=Bahi+A.&author=Akind%C3%A8s+Francis&publication+year=2011&pages=133-168>Google Scholar</a></div></div></div><div id="REFe-r-018" aria-flowto="reference-18-content reference-18-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 18 in the content" id="reference-18-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-18-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bahi</span>, <span class="given-names">A.</span></span>, <span class="year">2010</span>, ‘<span class="article-title">Jeunes et imaginaire de la modernité à Abidjan</span>’, <span class="source">Cadernos de estudos africanos</span>, No. <span class="volume">18</span>/<span class="issue">19</span>, June 2009–July 2010, pp. <span class="fpage">47</span>–<span class="lpage">61</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Jeunes et imaginaire de la modernité à Abidjan' href=https://scholar.google.com/scholar_lookup?title=Jeunes+et+imaginaire+de+la+modernit%C3%A9+%C3%A0+Abidjan&author=Bahi+A.&publication+year=2010&journal=Cadernos+de+estudos+africanos&volume=18&pages=47-61>Google Scholar</a></div></div></div><div id="REFe-r-019" aria-flowto="reference-19-content reference-19-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 19 in the content" id="reference-19-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-19-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bahi</span>, <span class="given-names">A.</span></span>, <span class="year">1999</span>, ’<span class="article-title">La “télé-maquis”: Les images de l’homme ordinaire</span>’, <span class="source">En Quête</span>, No. <span class="volume">4</span>, pp. <span class="fpage">9</span>–<span class="lpage">30</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La “télé-maquis”: Les images de l’homme ordinaire' href=https://scholar.google.com/scholar_lookup?title=La+%E2%80%9Ct%C3%A9l%C3%A9-maquis%E2%80%9D%3A+Les+images+de+l%E2%80%99homme+ordinaire&author=Bahi+A.&publication+year=1999&journal=En+Qu%C3%AAte&volume=4&pages=9-30>Google Scholar</a></div></div></div><div id="REFe-r-020" aria-flowto="reference-20-content reference-20-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 20 in the content" id="reference-20-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-20-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bahi</span>, <span class="given-names">A.</span></span>, <span class="year">1998</span>, ‘<span class="article-title">Les “tambours bâillonnés”: Contrôle et mainmise du pouvoir sur les médias en Côte d’Ivoire<em class="italic">’</em></span>, <span class="source">Media Development</span>, Vol. <span class="volume">45</span>, No. <span class="issue">4</span>, pp. <span class="fpage">36</span>–<span class="lpage">45</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les “tambours bâillonnés”: Contrôle et mainmise du pouvoir sur les médias en Côte d’Ivoire’' href=https://scholar.google.com/scholar_lookup?title=Les+%E2%80%9Ctambours+b%C3%A2illonn%C3%A9s%E2%80%9D%3A+Contr%C3%B4le+et+mainmise+du+pouvoir+sur+les+m%C3%A9dias+en+C%C3%B4te+d%E2%80%99Ivoire%E2%80%99&author=Bahi+A.&publication+year=1998&journal=Media+Development&volume=45&pages=36-45>Google Scholar</a></div></div></div><div id="REFe-r-021" aria-flowto="reference-21-content reference-21-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 21 in the content" id="reference-21-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-21-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bahi</span>, <span class="given-names">A.</span></span>, <span class="year">1994</span>, <span class="source">Narration, traditions et modernité dans le discours filmique de Comment ça va? une émission de la Télévision Ivoirienne,</span> <span class="publisher-loc">Lille</span>, <span class="publisher-name">Atelier National de Réproduction des Thèses Diffusion</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Narration, traditions et modernité dans le discours filmique de Comment ça va? une émission de la Télévision Ivoirienne,' href=https://scholar.google.com/scholar_lookup?title=Narration%2C+traditions+et+modernit%C3%A9+dans+le+discours+filmique+de+Comment+%C3%A7a+va%3F+une+%C3%A9mission+de+la+T%C3%A9l%C3%A9vision+Ivoirienne%2C&author=Bahi+A.&publication+year=1994>Google Scholar</a></div></div></div><div id="REFe-r-022" aria-flowto="reference-22-content reference-22-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 22 in the content" id="reference-22-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-22-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Balandier</span>, <span class="given-names">G.</span></span>, <span class="year">2008</span>, ‘<span class="article-title">De tous temps, de tous lieux, l’information et la communication</span>’, <span class="source">L’Homme</span>, Nos. <span class="volume">185</span>–<span class="issue">186</span>, pp. <span class="fpage">55</span>–<span class="lpage">63</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for De tous temps, de tous lieux, l’information et la communication' href=https://scholar.google.com/scholar_lookup?title=De+tous+temps%2C+de+tous+lieux%2C+l%E2%80%99information+et+la+communication&author=Balandier+G.&publication+year=2008&journal=L%E2%80%99Homme&volume=185&pages=55-63>Google Scholar</a></div></div></div><div id="REFe-r-023" aria-flowto="reference-23-content reference-23-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 23 in the content" id="reference-23-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-23-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Balandier</span>, <span class="given-names">G.</span></span>, <span class="year">1985</span>, <span class="source">Sociologie des Brazzavilles noires</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Presses de la Fnsp</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Sociologie des Brazzavilles noires' href=https://dx.doi.org/10.3917/scpo.balan.1985.01>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Sociologie des Brazzavilles noires' href=https://scholar.google.com/scholar_lookup?title=Sociologie+des+Brazzavilles+noires&author=Balandier+G.&publication+year=1985>Google Scholar</a></div></div></div><div id="REFe-r-024" aria-flowto="reference-24-content reference-24-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 24 in the content" id="reference-24-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-24-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Balandier</span>, <span class="given-names">G.</span></span>, <span class="year">1974</span>[1985], <span class="source">Anthropo-logiques</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Le Livre de Poche</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Anthropo-logiques' href=https://scholar.google.com/scholar_lookup?title=Anthropo-logiques&author=Balandier+G.&publication+year=1974>Google Scholar</a></div></div></div><div id="REFe-r-025" aria-flowto="reference-25-content reference-25-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 25 in the content" id="reference-25-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-25-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Balandier</span>, <span class="given-names">G.</span></span>, <span class="year">1957</span>, <span class="source">Afrique ambiguë</span>, <span class="publisher-loc">Paris, Plon, coll. Terre humaine</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Afrique ambiguë' href=https://scholar.google.com/scholar_lookup?title=Afrique+ambigu%C3%AB&author=Balandier+G.&publication+year=1957>Google Scholar</a></div></div></div><div id="REFe-r-026" aria-flowto="reference-26-content reference-26-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 26 in the content" id="reference-26-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-26-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Barber</span>, <span class="given-names">K.</span></span>, <span class="year">2018</span>, <span class="source">A History of African Popular Culture</span>, <span class="publisher-loc">Cambridge</span>, <span class="publisher-name">Cambridge University Press</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for A History of African Popular Culture' href=https://dx.doi.org/10.1017/9781139061766>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for A History of African Popular Culture' href=https://scholar.google.com/scholar_lookup?title=A+History+of+African+Popular+Culture&author=Barber+K.&publication+year=2018>Google Scholar</a></div></div></div><div id="REFe-r-027" aria-flowto="reference-27-content reference-27-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 27 in the content" id="reference-27-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-27-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Barber</span>, <span class="given-names">K.</span></span>, <span class="year">2015</span>, ‘Authorship, copyright and quotation in oral and print spheres in early colonial Yorubaland’, in <span class="source">Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods</span>, <span class="string-name"><span class="surname">Röschenthaler</span>, <span class="given-names">Ute</span></span> & <span class="string-name"><span class="surname">Diawarra</span>, <span class="given-names">Mamadou</span></span> (Eds.), <span class="publisher-loc">Canon Pyon</span>, <span class="publisher-name">Sean Kingston Publishing</span>, pp. <span class="fpage">101</span>–<span class="lpage">123</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods' href=https://scholar.google.com/scholar_lookup?title=Copyright+Africa%3A+How+Intellectual+Property%2C+Media+and+Markets+Transform+Immaterial+Cultural+Goods&author=Barber+K.&author=R%C3%B6schenthaler+Ute&author=Diawarra+Mamadou&publication+year=2015&pages=101-123>Google Scholar</a></div></div></div><div id="REFe-r-028" aria-flowto="reference-28-content reference-28-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 28 in the content" id="reference-28-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-28-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Barthes</span>, <span class="given-names">R.</span></span>, <span class="year">1957</span>, <span class="source">Mythologies</span>, <span class="publisher-loc">Paris, Seuil.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Mythologies' href=https://scholar.google.com/scholar_lookup?title=Mythologies&author=Barthes+R.&publication+year=1957>Google Scholar</a></div></div></div><div id="REFe-r-029" aria-flowto="reference-29-content reference-29-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 29 in the content" id="reference-29-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-29-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bassand</span>, <span class="given-names">M.</span></span>, <span class="year">2001</span>, ‘<span class="article-title">Les six paramètres de la métropolisation</span>’, <span class="source">Cahiers de la métropolisation</span>, No. <span class="volume">1</span>, Fiche débat, pp. <span class="fpage">33</span>–<span class="lpage">39</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les six paramètres de la métropolisation' href=https://scholar.google.com/scholar_lookup?title=Les+six+param%C3%A8tres+de+la+m%C3%A9tropolisation&author=Bassand+M.&publication+year=2001&journal=Cahiers+de+la+m%C3%A9tropolisation&volume=1&pages=33-39>Google Scholar</a></div></div></div><div id="REFe-r-030" aria-flowto="reference-30-content reference-30-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 30 in the content" id="reference-30-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-30-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bauman</span>, <span class="given-names">R.</span></span>, <span class="year">1992</span>, ‘Performance’, in <span class="source">Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook</span>, <span class="string-name"><span class="surname">Bauman</span>, <span class="given-names">Richard</span></span> (Ed.), <span class="publisher-loc">Oxford</span>, <span class="publisher-name">Oxford University Press</span>, pp. <span class="fpage">41</span>–<span class="lpage">49</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https://dx.doi.org/10.1093/oso/9780195069198.003.0005>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https://scholar.google.com/scholar_lookup?title=Folklore%2C+Cultural+Performances%2C+and+Popular+Entertainments%3A+A+Communications-Centered+Handbook&author=Bauman+R.&author=Bauman+Richard&publication+year=1992&pages=41-49>Google Scholar</a></div></div></div><div id="REFe-r-031" aria-flowto="reference-31-content reference-31-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 31 in the content" id="reference-31-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-31-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bazin</span>, <span class="given-names">L.</span></span>, <span class="year">2014</span>, ‘<span class="chapter-title">Préface’, in</span> <span class="source">Les mutuelles de développement en Côte d’Ivoire: Idéologie de l’origine et modernisation villageoise</span>, by Roch Yao Gbabeli, <span class="publisher-loc">Paris, L’Harmattan</span>, pp. <span class="fpage">ii</span>–<span class="lpage">viii</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les mutuelles de développement en Côte d’Ivoire: Idéologie de l’origine et modernisation villageoise' href=https://scholar.google.com/scholar_lookup?title=Les+mutuelles+de+d%C3%A9veloppement+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Id%C3%A9ologie+de+l%E2%80%99origine+et+modernisation+villageoise&author=Bazin+L.&publication+year=2014&pages=ii-viii>Google Scholar</a></div></div></div><div id="REFe-r-032" aria-flowto="reference-32-content reference-32-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 32 in the content" id="reference-32-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-32-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Becker</span>, <span class="given-names">H. S.</span></span>, <span class="year">2009</span>, <span class="source">Comment parler de la société: Artistes, écrivains, chercheurs et représentations sociales</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">La Découverte</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Comment parler de la société: Artistes, écrivains, chercheurs et représentations sociales' href=https://scholar.google.com/scholar_lookup?title=Comment+parler+de+la+soci%C3%A9t%C3%A9%3A+Artistes%2C+%C3%A9crivains%2C+chercheurs+et+repr%C3%A9sentations+sociales&author=Becker+H.+S.&publication+year=2009>Google Scholar</a></div></div></div><div id="REFe-r-033" aria-flowto="reference-33-content reference-33-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 33 in the content" id="reference-33-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-33-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Becker</span>, <span class="given-names">H.</span></span>, <span class="year">1988</span>[2006], <span class="source">Les mondes de l’art</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Flammarion</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les mondes de l’art' href=https://scholar.google.com/scholar_lookup?title=Les+mondes+de+l%E2%80%99art&author=Becker+H.&publication+year=1988>Google Scholar</a></div></div></div><div id="REFe-r-034" aria-flowto="reference-34-content reference-34-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 34 in the content" id="reference-34-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-34-content" class="circle-list__item__grouped__content"><span class="page-marker"></span><span class="string-name"><span class="surname">Béhague</span>, <span class="given-names">G. H.</span></span>, <span class="year">1992</span>, ‘<span class="chapter-title">Musical Performance</span>’, in <span class="source">Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook</span>, <span class="string-name"><span class="surname">Bauman</span>, <span class="given-names">Richard</span></span> (Ed.), <span class="publisher-loc">Oxford</span>, <span class="publisher-name">Oxford University Press</span>, pp. <span class="fpage">172</span>–<span class="lpage">178</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https://dx.doi.org/10.1093/oso/9780195069198.003.0024>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https://scholar.google.com/scholar_lookup?title=Folklore%2C+Cultural+Performances%2C+and+Popular+Entertainments%3A+A+Communications-Centered+Handbook&author=B%C3%A9hague+G.+H.&author=Bauman+Richard&publication+year=1992&pages=172-178>Google Scholar</a></div></div></div><div id="REFe-r-035" aria-flowto="reference-35-content reference-35-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 35 in the content" id="reference-35-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-35-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bemba</span>, <span class="given-names">S.</span></span>, <span class="year">1984</span>, <span class="source">Cinquante ans de musique du Congo-Zaïre, 1920–1970: De Paul Kamba à Tabu-Ley</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Présence africaine</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Cinquante ans de musique du Congo-Zaïre, 1920–1970: De Paul Kamba à Tabu-Ley' href=https://scholar.google.com/scholar_lookup?title=Cinquante+ans+de+musique+du+Congo-Za%C3%AFre%2C+1920%E2%80%931970%3A+De+Paul+Kamba+%C3%A0+Tabu-Ley&author=Bemba+S.&publication+year=1984>Google Scholar</a></div></div></div><div id="REFe-r-036" aria-flowto="reference-36-content reference-36-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 36 in the content" id="reference-36-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-36-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bergson</span>, <span class="given-names">H.</span></span>, <span class="year">1936</span>, ’<span class="source"><em class="italic">Quel est l’objet de l’art?’</em></span>, <span class="publisher-name">Paris, BnF, Archives de la Parole, Service de la coopération numérique, Gallica</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Quel est l’objet de l’art?’' href=https://scholar.google.com/scholar_lookup?title=Quel+est+l%E2%80%99objet+de+l%E2%80%99art%3F%E2%80%99&author=Bergson+H.&publication+year=1936>Google Scholar</a></div></div></div><div id="REFe-r-037" aria-flowto="reference-37-content reference-37-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 37 in the content" id="reference-37-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-37-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bibeau</span>, <span class="given-names">G.</span></span>, <span class="year">1993</span>, ‘<span class="article-title">Review of [Didier Fassin: <em class="italic">Pouvoir et maladie en Afrique. Anthropologie sociale dans la banlieue de Dakar</em></span>, Paris, Presses Universitaires de France, coll. Les champs de la santé, 1992, 359 pp., bibliogr.]’. <span class="source">Anthropologie et Sociétés</span>, Vol. <span class="volume">17</span>, Nos. <span class="issue">1–2</span>, pp. <span class="fpage">253</span>–<span class="lpage">260</span>. DOI: <a class="uri" href="https://doi.org/10.7202/015260ar">https://doi.org/10.7202/015260ar</a>, 21.01.2020.<a class='ref-link' target='_blank' aria-label='CrossRef link for Review of [Didier Fassin: Pouvoir et maladie en Afrique. Anthropologie sociale dans la banlieue de Dakar' href=https://dx.doi.org/10.7202/015260ar>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Review of [Didier Fassin: Pouvoir et maladie en Afrique. Anthropologie sociale dans la banlieue de Dakar' href=https://scholar.google.com/scholar_lookup?title=Review+of+%5BDidier+Fassin%3A+Pouvoir+et+maladie+en+Afrique.+Anthropologie+sociale+dans+la+banlieue+de+Dakar&author=Bibeau+G.&publication+year=1993&journal=Anthropologie+et+Soci%C3%A9t%C3%A9s&volume=17&doi=10.7202%2F015260ar&pages=253-260>Google Scholar</a></div></div></div><div id="REFe-r-038" aria-flowto="reference-38-content reference-38-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 38 in the content" id="reference-38-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-38-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Boa</span>, <span class="given-names">T. R.</span></span>, <span class="year">2010</span>, <span class="source">La sorcellerie n’existe pas</span>, <span class="publisher-loc">Abidjan, Les éditions du CERAP</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La sorcellerie n’existe pas' href=https://scholar.google.com/scholar_lookup?title=La+sorcellerie+n%E2%80%99existe+pas&author=Boa+T.+R.&publication+year=2010>Google Scholar</a></div></div></div><div id="REFe-r-039" aria-flowto="reference-39-content reference-39-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 39 in the content" id="reference-39-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-39-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Boka</span>, <span class="given-names">A.</span></span>, <span class="year">2013</span>, <span class="source">Coupé décalé: Sens d’un genre musical en Afrique</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Coupé décalé: Sens d’un genre musical en Afrique' href=https://scholar.google.com/scholar_lookup?title=Coup%C3%A9+d%C3%A9cal%C3%A9%3A+Sens+d%E2%80%99un+genre+musical+en+Afrique&author=Boka+A.&publication+year=2013>Google Scholar</a></div></div></div><div id="REFe-r-040" aria-flowto="reference-40-content reference-40-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 40 in the content" id="reference-40-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-40-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bonniol</span>, <span class="given-names">J.-L.</span></span>, <span class="year">1999</span>, ‘<span class="chapter-title">A propos de la <em class="italic">World Music</em>: Logiques de production et de réception</span>’, in <span class="source">Universalisation et différenciation des modèles culturels</span>, <span class="string-name"><span class="surname">Abou</span>, <span class="given-names">Sélim</span></span> & <span class="string-name"><span class="surname">Haddad</span>, <span class="given-names">Katia</span></span> (Eds.), Beyrouth – Montréal, Université Saint-Joseph – AUPELF-UREF, coll. <span class="publisher-name">Universités francophones</span>, pp. <span class="fpage">320</span>–<span class="lpage">338</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Universalisation et différenciation des modèles culturels' href=https://scholar.google.com/scholar_lookup?title=Universalisation+et+diff%C3%A9renciation+des+mod%C3%A8les+culturels&author=Bonniol+J.-L.&author=Abou+S%C3%A9lim&author=Haddad+Katia&publication+year=1999&pages=320-338>Google Scholar</a></div></div></div><div id="REFe-r-041" aria-flowto="reference-41-content reference-41-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 41 in the content" id="reference-41-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-41-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bourdieu</span>, <span class="given-names">P.</span></span>, <span class="year">1997</span>, <span class="source">Méditations pascaliennes</span>, <span class="publisher-loc">Paris, Seuil, coll. Liber</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Méditations pascaliennes' href=https://scholar.google.com/scholar_lookup?title=M%C3%A9ditations+pascaliennes&author=Bourdieu+P.&publication+year=1997>Google Scholar</a></div></div></div><div id="REFe-r-042" aria-flowto="reference-42-content reference-42-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 42 in the content" id="reference-42-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-42-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bourdieu</span>, <span class="given-names">P.</span></span>, <span class="year">1992</span>, <span class="source">Les règles de l’art: Genèse et structure du champ littéraire</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Seuil</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les règles de l’art: Genèse et structure du champ littéraire' href=https://scholar.google.com/scholar_lookup?title=Les+r%C3%A8gles+de+l%E2%80%99art%3A+Gen%C3%A8se+et+structure+du+champ+litt%C3%A9raire&author=Bourdieu+P.&publication+year=1992>Google Scholar</a></div></div></div><div id="REFe-r-043" aria-flowto="reference-43-content reference-43-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 43 in the content" id="reference-43-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-43-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Bourdieu</span>, <span class="given-names">P.</span></span>, <span class="year">1984</span>, <span class="source">Questions de sociologie</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Minuit</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Questions de sociologie' href=https://scholar.google.com/scholar_lookup?title=Questions+de+sociologie&author=Bourdieu+P.&publication+year=1984>Google Scholar</a></div></div></div><div id="REFe-r-044" aria-flowto="reference-44-content reference-44-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 44 in the content" id="reference-44-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-44-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Boutin</span>, <span class="given-names">A. B.</span></span> & <span class="string-name"><span class="surname">Kouadio</span>, <span class="given-names">J. N.</span></span>, <span class="year">2015</span>, ‘<span class="chapter-title">Le nouchi c’est notre créole en quelque sorte, qui est parlé par presque toute la Côte d’Ivoire</span>’, <span class="source">Dynamique des français africains: entre le culturel et le linguistique</span>, <span class="string-name"><span class="surname">Blumenthal</span>, <span class="given-names">Peter</span></span> (Ed.), <span class="publisher-loc">Berne, Éditions Peter Lang</span>, <span class="year">2015</span>, pp. <span class="fpage">251</span>–<span class="lpage">271</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Dynamique des français africains: entre le culturel et le linguistique' href=https://scholar.google.com/scholar_lookup?title=Dynamique+des+fran%C3%A7ais+africains%3A+entre+le+culturel+et+le+linguistique&author=Boutin+A.+B.&author=Kouadio+J.+N.&author=Blumenthal+Peter&publication+year=2015&pages=251-271>Google Scholar</a></div></div></div><div id="REFe-r-045" aria-flowto="reference-45-content reference-45-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 45 in the content" id="reference-45-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-45-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Briard</span>, <span class="given-names">F.</span></span>, <span class="year">2008</span>, <span class="source">Tiken Jah Fakoly: l’Afrique ne pleure plus, elle parle</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Éditions Arènes</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Tiken Jah Fakoly: l’Afrique ne pleure plus, elle parle' href=https://scholar.google.com/scholar_lookup?title=Tiken+Jah+Fakoly%3A+l%E2%80%99Afrique+ne+pleure+plus%2C+elle+parle&author=Briard+F.&publication+year=2008>Google Scholar</a></div></div></div><div id="REFe-r-046" aria-flowto="reference-46-content reference-46-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 46 in the content" id="reference-46-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-46-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Brou</span>, <span class="given-names">K. D.</span></span> (Ed.), <span class="year">2018</span>a, <span class="source">Tiken Jah Fakoly: Quand le reggae s’arrime à la pensée. Tome 1. La pensée universitaire</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Tiken Jah Fakoly: Quand le reggae s’arrime à la pensée. Tome 1. La pensée universitaire' href=https://scholar.google.com/scholar_lookup?title=Tiken+Jah+Fakoly%3A+Quand+le+reggae+s%E2%80%99arrime+%C3%A0+la+pens%C3%A9e.+Tome+1.+La+pens%C3%A9e+universitaire&author=Brou+K.+D.&publication+year=2018>Google Scholar</a></div></div></div><div id="REFe-r-047" aria-flowto="reference-47-content reference-47-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 47 in the content" id="reference-47-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-47-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Brou</span>, <span class="given-names">K. D.</span></span> (Ed.), <span class="year">2018</span>b, <span class="source">Tiken Jah Fakoly: Quand le reggae s’arrime à la pensée. Tome 2. Penser et panser l’Afrique</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Tiken Jah Fakoly: Quand le reggae s’arrime à la pensée. Tome 2. Penser et panser l’Afrique' href=https://scholar.google.com/scholar_lookup?title=Tiken+Jah+Fakoly%3A+Quand+le+reggae+s%E2%80%99arrime+%C3%A0+la+pens%C3%A9e.+Tome+2.+Penser+et+panser+l%E2%80%99Afrique&author=Brou+K.+D.&publication+year=2018>Google Scholar</a></div></div></div><div id="REFe-r-048" aria-flowto="reference-48-content reference-48-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 48 in the content" id="reference-48-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-48-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Caillé</span>, <span class="given-names">A.</span></span>, <span class="year">2007</span>, <span class="source">Anthropologie du don: Le tiers paradigme</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">La Découverte</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Anthropologie du don: Le tiers paradigme' href=https://dx.doi.org/10.3917/dec.caill.2007.02>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Anthropologie du don: Le tiers paradigme' href=https://scholar.google.com/scholar_lookup?title=Anthropologie+du+don%3A+Le+tiers+paradigme&author=Caill%C3%A9+A.&publication+year=2007>Google Scholar</a></div></div></div><div id="REFe-r-049" aria-flowto="reference-49-content reference-49-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 49 in the content" id="reference-49-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-49-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Camara</span>, <span class="given-names">S</span></span>, <span class="year">1992</span>, <span class="source">Gens de la parole: Essai sur la condition du griot dans la société malinké</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Karthala</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Gens de la parole: Essai sur la condition du griot dans la société malinké' href=https://scholar.google.com/scholar_lookup?title=Gens+de+la+parole%3A+Essai+sur+la+condition+du+griot+dans+la+soci%C3%A9t%C3%A9+malink%C3%A9&author=Camara+S&publication+year=1992>Google Scholar</a></div></div></div><div id="REFe-r-050" aria-flowto="reference-50-content reference-50-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 50 in the content" id="reference-50-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-50-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Castoriadis</span>, <span class="given-names">C.</span></span>, <span class="year">1975</span>, <span class="source">L’institution imaginaire de la société</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Seuil</span>, coll. Points.<a class='ref-link' target='_blank' aria-label='Google Scholar link for L’institution imaginaire de la société' href=https://scholar.google.com/scholar_lookup?title=L%E2%80%99institution+imaginaire+de+la+soci%C3%A9t%C3%A9&author=Castoriadis+C.&publication+year=1975>Google Scholar</a></div></div></div><div id="REFe-r-051" aria-flowto="reference-51-content reference-51-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 51 in the content" id="reference-51-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-51-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Cauquelin</span>, <span class="given-names">A.</span></span>, <span class="year">1999</span>, <span class="source">Les théories de l’art</span>, <span class="publisher-loc">Paris, PUF</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les théories de l’art' href=https://scholar.google.com/scholar_lookup?title=Les+th%C3%A9ories+de+l%E2%80%99art&author=Cauquelin+A.&publication+year=1999>Google Scholar</a></div></div></div><div id="REFe-r-052" aria-flowto="reference-52-content reference-52-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 52 in the content" id="reference-52-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-52-content" class="circle-list__item__grouped__content"><span class="page-marker"></span><span class="string-name"><span class="surname">Caune</span>, <span class="given-names">J.</span></span>, <span class="year">1995</span>, <span class="source">Culture et communication: Convergences théoriques et lieux de médiation</span>, <span class="publisher-loc">Grenoble, Presses universitaires de Grenoble</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Culture et communication: Convergences théoriques et lieux de médiation' href=https://scholar.google.com/scholar_lookup?title=Culture+et+communication%3A+Convergences+th%C3%A9oriques+et+lieux+de+m%C3%A9diation&author=Caune+J.&publication+year=1995>Google Scholar</a></div></div></div><div id="REFe-r-053" aria-flowto="reference-53-content reference-53-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 53 in the content" id="reference-53-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-53-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Cissé</span>, <span class="given-names">Y. T.</span></span> & <span class="string-name"><span class="surname">Kamissoko</span>, <span class="given-names">W.</span></span>, <span class="year">1988</span>, <span class="source">La grande geste du Mali: Des origines à la fondation de l’empire</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Association ARSAN</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La grande geste du Mali: Des origines à la fondation de l’empire' href=https://scholar.google.com/scholar_lookup?title=La+grande+geste+du+Mali%3A+Des+origines+%C3%A0+la+fondation+de+l%E2%80%99empire&author=Ciss%C3%A9+Y.+T.&author=Kamissoko+W.&publication+year=1988>Google Scholar</a></div></div></div><div id="REFe-r-054" aria-flowto="reference-54-content reference-54-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 54 in the content" id="reference-54-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-54-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Collins</span>, <span class="given-names">J.</span></span>, <span class="year">1992</span>, <span class="source">West African Pop Roots</span>, <span class="publisher-loc">Philadelphia</span>, <span class="publisher-name">Temple University Press</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for West African Pop Roots' href=https://scholar.google.com/scholar_lookup?title=West+African+Pop+Roots&author=Collins+J.&publication+year=1992>Google Scholar</a></div></div></div><div id="REFe-r-055" aria-flowto="reference-55-content reference-55-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 55 in the content" id="reference-55-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-55-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Coman</span>, <span class="given-names">M.</span></span>, <span class="year">2003</span>, <span class="source">Pour une anthropologie des médias</span>, <span class="publisher-loc">Grenoble, Presses universitaires de Grenoble</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Pour une anthropologie des médias' href=https://scholar.google.com/scholar_lookup?title=Pour+une+anthropologie+des+m%C3%A9dias&author=Coman+M.&publication+year=2003>Google Scholar</a></div></div></div><div id="REFe-r-056" aria-flowto="reference-56-content reference-56-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 56 in the content" id="reference-56-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-56-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Contreras</span>, <span class="given-names">A.</span></span>, <span class="year">2016</span>, <em class="italic">Musiques du monde sur Jacques Bizollon</em>, Radio France internationale <a class="uri" href="https://musique.rfi.fr/emission/info/musiques-monde/20160203-2-jacques-bizollon">https://musique.rfi.fr/emission/info/musiques-monde/20160203-2-jacques-bizollon</a>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Contreras, A., 2016, Musiques du monde sur Jacques Bizollon, Radio France internationale https://musique.rfi.fr/emission/info/musiques-monde/20160203-2-jacques-bizollon.' href=https://scholar.google.com/scholar?q=Contreras,+A.,+2016,+Musiques+du+monde+sur+Jacques+Bizollon,+Radio+France+internationale+https://musique.rfi.fr/emission/info/musiques-monde/20160203-2-jacques-bizollon.>Google Scholar</a></div></div></div><div id="REFe-r-057" aria-flowto="reference-57-content reference-57-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 57 in the content" id="reference-57-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-57-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Copans</span>, <span class="given-names">J.</span></span>, <span class="year">1993</span>, ‘<span class="article-title">Intellectuels visibles, intellectuels invisibles</span>’, <span class="source">Politique Africaine</span>, No. <span class="volume">51</span>, pp. <span class="fpage">7</span>–<span class="lpage">25</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Intellectuels visibles, intellectuels invisibles' href=https://dx.doi.org/10.3406/polaf.1993.5682>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Intellectuels visibles, intellectuels invisibles' href=https://scholar.google.com/scholar_lookup?title=Intellectuels+visibles%2C+intellectuels+invisibles&author=Copans+J.&publication+year=1993&journal=Politique+Africaine&volume=51&doi=10.3406%2Fpolaf.1993.5682&pages=7-25>Google Scholar</a></div></div></div><div id="REFe-r-058" aria-flowto="reference-58-content reference-58-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 58 in the content" id="reference-58-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-58-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Dagri</span>, <span class="given-names">P.</span></span>, <span class="year">2019</span>a, ‘La fanfare des peuples de la côtière de Côte d’Ivoire: d’hier à aujourd’hui’, <a class="uri" href="http://www.universitepopulairemeroeafrica.org">www.universitepopulairemeroeafrica.org</a>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Dagri, P., 2019a, ‘La fanfare des peuples de la côtière de Côte d’Ivoire: d’hier à aujourd’hui’, www.universitepopulairemeroeafrica.org.' href=https://scholar.google.com/scholar?q=Dagri,+P.,+2019a,+‘La+fanfare+des+peuples+de+la+côtière+de+Côte+d’Ivoire:+d’hier+à+aujourd’hui’,+www.universitepopulairemeroeafrica.org.>Google Scholar</a></div></div></div><div id="REFe-r-059" aria-flowto="reference-59-content reference-59-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 59 in the content" id="reference-59-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-59-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Dagri</span>, <span class="given-names">P.</span></span>, <span class="year">2019</span>b, ‘The sound phenomenon in Africa – music: A semiological approach’, <a class="uri" href="http://www.universitepopulairemeroeafrica.org">www.universitepopulairemeroeafrica.org</a>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Dagri, P., 2019b, ‘The sound phenomenon in Africa – music: A semiological approach’, www.universitepopulairemeroeafrica.org.' href=https://scholar.google.com/scholar?q=Dagri,+P.,+2019b,+‘The+sound+phenomenon+in+Africa+–+music:+A+semiological+approach’,+www.universitepopulairemeroeafrica.org.>Google Scholar</a></div></div></div><div id="REFe-r-060" aria-flowto="reference-60-content reference-60-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 60 in the content" id="reference-60-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-60-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Dédy</span>, <span class="given-names">S.</span></span>, <span class="year">1986</span>, ‘<span class="chapter-title">Vers une définition de l’Art chez les Bété: le mythe de Srèlè</span>’, in <span class="source">La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel</span>, <span class="string-name"><span class="surname">Wondji</span>, <span class="given-names">Christophe</span></span> (Ed.), <span class="publisher-loc">Paris</span>, <span class="publisher-name">Présence Africaine</span>, pp. <span class="fpage">27</span>–<span class="lpage">41</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel' href=https://scholar.google.com/scholar_lookup?title=La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=D%C3%A9dy+S.&author=Wondji+Christophe&publication+year=1986&pages=27-41>Google Scholar</a></div></div></div><div id="REFe-r-061" aria-flowto="reference-61-content reference-61-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 61 in the content" id="reference-61-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-61-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Dédy</span>, <span class="given-names">S.</span></span>, <span class="year">1984</span>, ‘<span class="article-title">Musique traditionnelle et développement national en Côte d’Ivoire</span>’, <span class="source">Tiers-Monde<em class="italic">, Vol. 25</em></span>, No. <span class="volume">97</span>, pp. <span class="fpage">109</span>–<span class="lpage">124</span>; DOI: <a class="uri" href="https://doi.org/10.3406/tiers.1984.3361">https://doi.org/10.3406/tiers.1984.3361</a>. <a class="uri" href="http://www.persee.fr/doc/tiers%5F0040-7356%5F1984%5Fnum%5F25%5F97%5F3361">www.persee.fr/doc/tiers_0040-7356_1984_num_25_97_3361</a>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Musique traditionnelle et développement national en Côte d’Ivoire' href=https://scholar.google.com/scholar_lookup?title=Musique+traditionnelle+et+d%C3%A9veloppement+national+en+C%C3%B4te+d%E2%80%99Ivoire&author=D%C3%A9dy+S.&publication+year=1984&journal=Tiers-Monde%2C+Vol.+25&volume=97&pages=109-124>Google Scholar</a></div></div></div><div id="REFe-r-062" aria-flowto="reference-62-content reference-62-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 62 in the content" id="reference-62-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-62-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Derrida</span>, <span class="given-names">J.</span></span>, <span class="year">1966</span>, <span class="source">Nature, culture, écriture: La violence de la lettre de Lévi-Strauss à Rousseau</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">ENS, typewritten document</span>. Available at <a class="uri" href="http://cahiers.kingston.ac.uk/vol04/cpa4.1.derrida.html">http://cahiers.kingston.ac.uk/vol04/cpa4.1.derrida.html</a>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Nature, culture, écriture: La violence de la lettre de Lévi-Strauss à Rousseau' href=https://scholar.google.com/scholar_lookup?title=Nature%2C+culture%2C+%C3%A9criture%3A+La+violence+de+la+lettre+de+L%C3%A9vi-Strauss+%C3%A0+Rousseau&author=Derrida+J.&publication+year=1966>Google Scholar</a></div></div></div><div id="REFe-r-063" aria-flowto="reference-63-content reference-63-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 63 in the content" id="reference-63-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-63-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Diawarra</span>, <span class="given-names">M.</span></span>, <span class="year">2015</span>, ‘<span class="chapter-title">Breaking the contract? Handling intangible cultural goods among different generations in Mali</span>’, in <span class="source">Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods</span>, <span class="string-name"><span class="surname">Röschenthaler</span>, <span class="given-names">Ute</span></span> & <span class="string-name"><span class="surname">Diawarra</span>, <span class="given-names">Mamadou</span></span> (Eds.), <span class="publisher-name">Canon Pyon, Sean Kingston Publishing</span>, pp. <span class="fpage">242</span>–<span class="lpage">265</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods' href=https://scholar.google.com/scholar_lookup?title=Copyright+Africa%3A+How+Intellectual+Property%2C+Media+and+Markets+Transform+Immaterial+Cultural+Goods&author=Diawarra+M.&author=R%C3%B6schenthaler+Ute&author=Diawarra+Mamadou&publication+year=2015&pages=242-265>Google Scholar</a></div></div></div><div id="REFe-r-064" aria-flowto="reference-64-content reference-64-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 64 in the content" id="reference-64-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-64-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Djédjé</span>, <span class="given-names">A.-P.</span></span>, <span class="year">2020</span>, <span class="source">L’épopée de la pop music ivoirienne</span>, <span class="publisher-loc">Abidjan, Edilis</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for L’épopée de la pop music ivoirienne' href=https://scholar.google.com/scholar_lookup?title=L%E2%80%99%C3%A9pop%C3%A9e+de+la+pop+music+ivoirienne&author=Dj%C3%A9dj%C3%A9+A.-P.&publication+year=2020>Google Scholar</a></div></div></div><div id="REFe-r-065" aria-flowto="reference-65-content reference-65-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 65 in the content" id="reference-65-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-65-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Djédjé</span>, <span class="given-names">N. D.</span></span>, <span class="year">2005</span>, ‘<span class="article-title">Le développement et la question de l’expression “on est en Afrique”. Essai de réflexion psychosociologique sur un facteur idéologique du sous-développement en Afrique</span>’, <span class="source">Kasa Bya Kasa: Revue ivoirienne d’anthrolopologie et de sociologie</span>, No. <span class="volume">7</span>, pp. <span class="fpage">73</span>–<span class="lpage">86</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le développement et la question de l’expression “on est en Afrique”. Essai de réflexion psychosociologique sur un facteur idéologique du sous-développement en Afrique' href=https://scholar.google.com/scholar_lookup?title=Le+d%C3%A9veloppement+et+la+question+de+l%E2%80%99expression+%E2%80%9Con+est+en+Afrique%E2%80%9D.+Essai+de+r%C3%A9flexion+psychosociologique+sur+un+facteur+id%C3%A9ologique+du+sous-d%C3%A9veloppement+en+Afrique&author=Dj%C3%A9dj%C3%A9+N.+D.&publication+year=2005&journal=Kasa+Bya+Kasa%3A+Revue+ivoirienne+d%E2%80%99anthrolopologie+et+de+sociologie&volume=7&pages=73-86>Google Scholar</a></div></div></div><div id="REFe-r-066" aria-flowto="reference-66-content reference-66-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 66 in the content" id="reference-66-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-66-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Dollfus</span>, <span class="given-names">O.</span></span>, <span class="year">2007</span>, <span class="source">La mondialisation</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Presses de la fondation nationale des Sciences Politiques</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for La mondialisation' href=https://dx.doi.org/10.3917/scpo.dollf.2007.01>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for La mondialisation' href=https://scholar.google.com/scholar_lookup?title=La+mondialisation&author=Dollfus+O.&publication+year=2007>Google Scholar</a></div></div></div><div id="REFe-r-067" aria-flowto="reference-67-content reference-67-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 67 in the content" id="reference-67-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-67-content" class="circle-list__item__grouped__content"><span class="page-marker"></span><span class="string-name"><span class="surname">Doua</span>, <span class="given-names">E.</span></span>, <span class="year">2020</span>, ‘<span class="article-title">Reggae, ideologies et luttes émancipatrices en Afrique</span>, <span class="source">Hermès</span>, No. <span class="volume">86</span>, pp. <span class="fpage">158</span>–<span class="lpage">163</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Reggae, ideologies et luttes émancipatrices en Afrique' href=https://dx.doi.org/10.3917/herm.086.0158>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Reggae, ideologies et luttes émancipatrices en Afrique' href=https://scholar.google.com/scholar_lookup?title=Reggae%2C+ideologies+et+luttes+%C3%A9mancipatrices+en+Afrique&author=Doua+E.&publication+year=2020&journal=Herm%C3%A8s&volume=86&doi=10.3917%2Fherm.086.0158&pages=158-163>Google Scholar</a></div></div></div><div id="REFe-r-068" aria-flowto="reference-68-content reference-68-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 68 in the content" id="reference-68-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-68-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Doua</span>, <span class="given-names">E.</span></span>, <span class="year">2009</span>, <span class="source">Les médias dans les politiques culturelles africaines: Le cas du MASA en Côte d’Ivoire</span>, <span class="publisher-name">Doctoral thesis, Bordeaux, Université Michel de Montaigne Bordeaux 3</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les médias dans les politiques culturelles africaines: Le cas du MASA en Côte d’Ivoire' href=https://scholar.google.com/scholar_lookup?title=Les+m%C3%A9dias+dans+les+politiques+culturelles+africaines%3A+Le+cas+du+MASA+en+C%C3%B4te+d%E2%80%99Ivoire&author=Doua+E.&publication+year=2009>Google Scholar</a></div></div></div><div id="REFe-r-069" aria-flowto="reference-69-content reference-69-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 69 in the content" id="reference-69-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-69-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Doumergue</span>, <span class="given-names">D.</span></span>, <span class="year">1981</span>, ‘Essai sur l’alcoolisme en Côte d’Ivoire, 1900<em class="italic">–</em>1958’, <em class="italic">Annales de l’Université d’Abidjan, Série I (Histoire), Tome IX, pp. 99–120.</em><a class='ref-link' target='_blank' aria-label='Google Scholar link for Doumergue, D., 1981, ‘Essai sur l’alcoolisme en Côte d’Ivoire, 1900–1958’, Annales de l’Université d’Abidjan, Série I (Histoire), Tome IX, pp. 99–120.' href=https://scholar.google.com/scholar?q=Doumergue,+D.,+1981,+‘Essai+sur+l’alcoolisme+en+Côte+d’Ivoire,+1900–1958’,+Annales+de+l’Université+d’Abidjan,+Série+I+(Histoire),+Tome+IX,+pp.+99–120.>Google Scholar</a></div></div></div><div id="REFe-r-070" aria-flowto="reference-70-content reference-70-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 70 in the content" id="reference-70-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-70-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Durkheim</span>, <span class="given-names">E.</span></span>, 1912[<span class="year">2007</span>], <span class="source">Les formes élémentaires de la vie religieuse: Le système totémique en Australie</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">CNRS Éditions</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les formes élémentaires de la vie religieuse: Le système totémique en Australie' href=https://scholar.google.com/scholar_lookup?title=Les+formes+%C3%A9l%C3%A9mentaires+de+la+vie+religieuse%3A+Le+syst%C3%A8me+tot%C3%A9mique+en+Australie&author=Durkheim+E.&publication+year=2007>Google Scholar</a></div></div></div><div id="REFe-r-071" aria-flowto="reference-71-content reference-71-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 71 in the content" id="reference-71-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-71-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Duvignaud</span>, <span class="given-names">J.</span></span>, <span class="year">1991</span>, <span class="source">Fêtes et civilisations, followed by La fête aujourd’hui</span>, <span class="publisher-loc">Paris, Actes Sud</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Fêtes et civilisations, followed by La fête aujourd’hui' href=https://scholar.google.com/scholar_lookup?title=F%C3%AAtes+et+civilisations%2C+followed+by+La+f%C3%AAte+aujourd%E2%80%99hui&author=Duvignaud+J.&publication+year=1991>Google Scholar</a></div></div></div><div id="REFe-r-072" aria-flowto="reference-72-content reference-72-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 72 in the content" id="reference-72-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-72-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Eboussi Boulaga</span>, <span class="given-names">F.</span></span>, <span class="year">1977</span>, <span class="source">La crise du muntu: Authenticité africaine et philosophie</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Présence africaine</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La crise du muntu: Authenticité africaine et philosophie' href=https://scholar.google.com/scholar_lookup?title=La+crise+du+muntu%3A+Authenticit%C3%A9+africaine+et+philosophie&author=Eboussi+Boulaga+F.&publication+year=1977>Google Scholar</a></div></div></div><div id="REFe-r-073" aria-flowto="reference-73-content reference-73-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 73 in the content" id="reference-73-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-73-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Boto</span>, <span class="given-names">Eza</span></span>, <span class="year">1954</span>[1971], <span class="source">Ville cruelle</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Présence africaine</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Ville cruelle' href=https://scholar.google.com/scholar_lookup?title=Ville+cruelle&author=Boto+Eza&publication+year=1954>Google Scholar</a></div></div></div><div id="REFe-r-074" aria-flowto="reference-74-content reference-74-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 74 in the content" id="reference-74-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-74-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Fanon</span>, <span class="given-names">F.</span></span>, <span class="year">1961</span>[2002], <span class="source">Les damnés de la terre</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">La Découverte.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Les damnés de la terre' href=https://scholar.google.com/scholar_lookup?title=Les+damn%C3%A9s+de+la+terre&author=Fanon+F.&publication+year=1961>Google Scholar</a></div></div></div><div id="REFe-r-075" aria-flowto="reference-75-content reference-75-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 75 in the content" id="reference-75-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-75-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Farred</span>, <span class="given-names">G.</span></span>, <span class="year">2003</span>, <span class="source">What’s My Name? Black Vernacular Intellectuals</span>, <span class="publisher-loc">Minneapolis</span>, <span class="publisher-name">University of Minnesota Press</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for What’s My Name? Black Vernacular Intellectuals' href=https://scholar.google.com/scholar_lookup?title=What%E2%80%99s+My+Name%3F+Black+Vernacular+Intellectuals&author=Farred+G.&publication+year=2003>Google Scholar</a></div></div></div><div id="REFe-r-076" aria-flowto="reference-76-content reference-76-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 76 in the content" id="reference-76-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-76-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Fié Doh</span>, <span class="given-names">L.</span></span>, <span class="year">2012</span>, <span class="source">Musiques populaires urbaines et stratégies du refus en Côte d’Ivoire</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Edilivre</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Musiques populaires urbaines et stratégies du refus en Côte d’Ivoire' href=https://scholar.google.com/scholar_lookup?title=Musiques+populaires+urbaines+et+strat%C3%A9gies+du+refus+en+C%C3%B4te+d%E2%80%99Ivoire&author=Fi%C3%A9+Doh+L.&publication+year=2012>Google Scholar</a></div></div></div><div id="REFe-r-077" aria-flowto="reference-77-content reference-77-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 77 in the content" id="reference-77-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-77-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Flichy</span>, <span class="given-names">P.</span></span>, <span class="year">2010</span>, <span class="source">Le sacre de l’amateur: Sociologie des passions ordinaires à l’ère du numérique</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Seuil</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le sacre de l’amateur: Sociologie des passions ordinaires à l’ère du numérique' href=https://scholar.google.com/scholar_lookup?title=Le+sacre+de+l%E2%80%99amateur%3A+Sociologie+des+passions+ordinaires+%C3%A0+l%E2%80%99%C3%A8re+du+num%C3%A9rique&author=Flichy+P.&publication+year=2010>Google Scholar</a></div></div></div><div id="REFe-r-078" aria-flowto="reference-78-content reference-78-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 78 in the content" id="reference-78-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-78-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Flichy</span>, <span class="given-names">P.</span></span>, <span class="year">1991</span>, <span class="source">Les industries de l’imaginaire</span>, <span class="publisher-loc">Grenoble<em class="italic">,</em> Presses universitaires de Grenoble</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les industries de l’imaginaire' href=https://scholar.google.com/scholar_lookup?title=Les+industries+de+l%E2%80%99imaginaire&author=Flichy+P.&publication+year=1991>Google Scholar</a></div></div></div><div id="REFe-r-079" aria-flowto="reference-79-content reference-79-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 79 in the content" id="reference-79-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-79-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Feld</span>, <span class="given-names">S.</span></span>, <span class="year">1988</span>, ‘<span class="article-title">Note on world beat</span>’, <span class="source">Public Culture</span>, Vol. <span class="volume">1</span>, No. <span class="issue">1</span>, pp. <span class="fpage">31</span>–<span class="lpage">37</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Note on world beat' href=https://dx.doi.org/10.1215/08992363-1-1-31>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Note on world beat' href=https://scholar.google.com/scholar_lookup?title=Note+on+world+beat&author=Feld+S.&publication+year=1988&journal=Public+Culture&volume=1&doi=10.1215%2F08992363-1-1-31&pages=31-37>Google Scholar</a></div></div></div><div id="REFe-r-080" aria-flowto="reference-80-content reference-80-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 80 in the content" id="reference-80-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-80-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Forest</span>, <span class="given-names">P.-O.</span></span>, <span class="year">2013</span>, <span class="source">Poïétique de la création sonore au cinéma: La figure de l’artiste-poïéticien</span>, <span class="publisher-name">Master’s thesis, Université de Montréal</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Poïétique de la création sonore au cinéma: La figure de l’artiste-poïéticien' href=https://scholar.google.com/scholar_lookup?title=Po%C3%AF%C3%A9tique+de+la+cr%C3%A9ation+sonore+au+cin%C3%A9ma%3A+La+figure+de+l%E2%80%99artiste-po%C3%AF%C3%A9ticien&author=Forest+P.-O.&publication+year=2013>Google Scholar</a></div></div></div><div id="REFe-r-081" aria-flowto="reference-81-content reference-81-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 81 in the content" id="reference-81-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-81-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Fougeyrollas</span>, <span class="given-names">P.</span></span>, <span class="year">1987</span>, <span class="source">Les métamorphoses de la crise: Racismes et révolutions au XXe siècle</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Hachette</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les métamorphoses de la crise: Racismes et révolutions au XXe siècle' href=https://scholar.google.com/scholar_lookup?title=Les+m%C3%A9tamorphoses+de+la+crise%3A+Racismes+et+r%C3%A9volutions+au+XXe+si%C3%A8cle&author=Fougeyrollas+P.&publication+year=1987>Google Scholar</a></div></div></div><div id="REFe-r-082" aria-flowto="reference-82-content reference-82-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 82 in the content" id="reference-82-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-82-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Gadou</span>, <span class="given-names">D.</span></span>, <span class="year">2011</span>, <span class="source">La sorcellerie: Une réalité vivante en Afrique</span>, <span class="publisher-name">Abidjan, Les éditions du CERAP</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La sorcellerie: Une réalité vivante en Afrique' href=https://scholar.google.com/scholar_lookup?title=La+sorcellerie%3A+Une+r%C3%A9alit%C3%A9+vivante+en+Afrique&author=Gadou+D.&publication+year=2011>Google Scholar</a></div></div></div><div id="REFe-r-083" aria-flowto="reference-83-content reference-83-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 83 in the content" id="reference-83-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-83-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Gibert</span>, <span class="given-names">G.</span></span> & <span class="string-name"><span class="surname">Leguern</span>, <span class="given-names">Ph</span></span>., <span class="year">2008</span>, ‘Faire l’histoire des musiques amplifiées en France’, <em class="italic">Stéréo: Sociologie comparée des musiques populaires, France – Grande-Bretagne</em>, Guichen, Éditions Mélanie Seteun, Irma, Musique et société/9, DOI: <a class="uri" href="https://doi.org/10.4000/books.ms.405">https://doi.org/10.4000/books.ms.405</a>, Publication on OpenEdition Books: 12 September 2019.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Gibert, G. & Leguern, Ph., 2008, ‘Faire l’histoire des musiques amplifiées en France’, Stéréo: Sociologie comparée des musiques populaires, France – Grande-Bretagne, Guichen, Éditions Mélanie Seteun, Irma, Musique et société/9, DOI: https://doi.org/10.4000/books.ms.405, Publication on OpenEdition Books: 12 September 2019.' href=https://scholar.google.com/scholar?q=Gibert,+G.+&+Leguern,+Ph.,+2008,+‘Faire+l’histoire+des+musiques+amplifiées+en+France’,+Stéréo:+Sociologie+comparée+des+musiques+populaires,+France+–+Grande-Bretagne,+Guichen,+Éditions+Mélanie+Seteun,+Irma,+Musique+et+société/9,+DOI:+https://doi.org/10.4000/books.ms.405,+Publication+on+OpenEdition+Books:+12+September+2019.>Google Scholar</a></div></div></div><div id="REFe-r-084" aria-flowto="reference-84-content reference-84-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 84 in the content" id="reference-84-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-84-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Gilroy</span>, <span class="given-names">P.</span></span>, <span class="year">2010</span>, <span class="source">The Black Atlantic: Modernité et double conscience</span>, <span class="publisher-loc">Paris, Ed. Amsterdam</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for The Black Atlantic: Modernité et double conscience' href=https://scholar.google.com/scholar_lookup?title=The+Black+Atlantic%3A+Modernit%C3%A9+et+double+conscience&author=Gilroy+P.&publication+year=2010>Google Scholar</a></div></div></div><div id="REFe-r-085" aria-flowto="reference-85-content reference-85-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 85 in the content" id="reference-85-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-85-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Giddens</span>, <span class="given-names">A.</span></span>, <span class="year">1994</span>, <span class="source">Les conséquences de la modernité</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les conséquences de la modernité' href=https://scholar.google.com/scholar_lookup?title=Les+cons%C3%A9quences+de+la+modernit%C3%A9&author=Giddens+A.&publication+year=1994>Google Scholar</a></div></div></div><div id="REFe-r-086" aria-flowto="reference-86-content reference-86-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 86 in the content" id="reference-86-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-86-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Godelier</span>, <span class="given-names">M.</span></span>, <span class="year">2015</span>, <span class="source">L’imaginé, l’imaginaire & le symbolique</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Cnrs Éditions</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for L’imaginé, l’imaginaire & le symbolique' href=https://scholar.google.com/scholar_lookup?title=L%E2%80%99imagin%C3%A9%2C+l%E2%80%99imaginaire+%26+le+symbolique&author=Godelier+M.&publication+year=2015>Google Scholar</a></div></div></div><div id="REFe-r-087" aria-flowto="reference-87-content reference-87-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 87 in the content" id="reference-87-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-87-content" class="circle-list__item__grouped__content"><span class="page-marker"></span><span class="string-name"><span class="surname">Goerg</span>, <span class="given-names">O.</span></span>, <span class="year">1999</span>, ‘<span class="chapter-title">Introduction</span>’, in <span class="source">Fêtes urbaines en Afrique: Espaces, identités et pouvoirs</span>, <span class="string-name"><span class="surname">Goerg</span>, <span class="given-names">Odile</span></span> (Ed.), <span class="publisher-loc">Paris, Karthala</span>, pp. <span class="fpage">5</span>–<span class="lpage">13</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Fêtes urbaines en Afrique: Espaces, identités et pouvoirs' href=https://dx.doi.org/10.3917/kart.goerg.1999.01.0005>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Fêtes urbaines en Afrique: Espaces, identités et pouvoirs' href=https://scholar.google.com/scholar_lookup?title=F%C3%AAtes+urbaines+en+Afrique%3A+Espaces%2C+identit%C3%A9s+et+pouvoirs&author=Goerg+O.&author=Goerg+Odile&publication+year=1999&pages=5-13>Google Scholar</a></div></div></div><div id="REFe-r-088" aria-flowto="reference-88-content reference-88-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 88 in the content" id="reference-88-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-88-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Goffman</span>, <span class="given-names">E.</span></span>, <span class="year">1991</span>, <span class="source">Les cadres de l’expérience</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Minuit</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les cadres de l’expérience' href=https://scholar.google.com/scholar_lookup?title=Les+cadres+de+l%E2%80%99exp%C3%A9rience&author=Goffman+E.&publication+year=1991>Google Scholar</a></div></div></div><div id="REFe-r-089" aria-flowto="reference-89-content reference-89-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 89 in the content" id="reference-89-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-89-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Gondola</span>, <span class="given-names">Ch. D.</span></span>, <span class="year">2003</span>, ‘<span class="article-title">Ô, Kisasa makambo! Métamorphoses et représentations de Kinshasa à travers le discours musical des années 1950–1960</span>’, <span class="source">Le Mouvement social</span> Vol. <span class="volume">3</span>, No. <span class="issue">204</span>, pp. <span class="fpage">109</span>–<span class="lpage">129</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Ô, Kisasa makambo! Métamorphoses et représentations de Kinshasa à travers le discours musical des années 1950–1960' href=https://dx.doi.org/10.2307/3779939>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Ô, Kisasa makambo! Métamorphoses et représentations de Kinshasa à travers le discours musical des années 1950–1960' href=https://scholar.google.com/scholar_lookup?title=%C3%94%2C+Kisasa+makambo!+M%C3%A9tamorphoses+et+repr%C3%A9sentations+de+Kinshasa+%C3%A0+travers+le+discours+musical+des+ann%C3%A9es+1950%E2%80%931960&author=Gondola+Ch.+D.&publication+year=2003&journal=Le+Mouvement+social&volume=3&doi=10.2307%2F3779939&pages=109-129>Google Scholar</a></div></div></div><div id="REFe-r-090" aria-flowto="reference-90-content reference-90-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 90 in the content" id="reference-90-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-90-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Gondola</span>, <span class="given-names">Ch. D.</span></span>, <span class="year">1997</span>, ‘<span class="article-title">Oh rio-Ma! Musique et guerre des sexes à Kinshasa: 1930–1990</span>’, <span class="source">Revue Française d’Histoire d’Outre-Mer</span>, Vol. <span class="volume">4</span>, No. <span class="issue">314</span>, 1<sup class="sup">er</sup> trim., pp. <span class="fpage">51</span>–<span class="lpage">81</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Oh rio-Ma! Musique et guerre des sexes à Kinshasa: 1930–1990' href=https://dx.doi.org/10.3406/outre.1997.3508>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Oh rio-Ma! Musique et guerre des sexes à Kinshasa: 1930–1990' href=https://scholar.google.com/scholar_lookup?title=Oh+rio-Ma!+Musique+et+guerre+des+sexes+%C3%A0+Kinshasa%3A+1930%E2%80%931990&author=Gondola+Ch.+D.&publication+year=1997&journal=Revue+Fran%C3%A7aise+d%E2%80%99Histoire+d%E2%80%99Outre-Mer&volume=4&doi=10.3406%2Foutre.1997.3508&pages=51-81>Google Scholar</a></div></div></div><div id="REFe-r-091" aria-flowto="reference-91-content reference-91-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 91 in the content" id="reference-91-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-91-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Goran</span>, <span class="given-names">K. M. A.</span></span>, <span class="year">2011</span>, <span class="source">Musicologie et développement dans la société ivoirienne</span>, <span class="publisher-name">Saarbrücken, Éditions Universitaires Européennes</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Musicologie et développement dans la société ivoirienne' href=https://scholar.google.com/scholar_lookup?title=Musicologie+et+d%C3%A9veloppement+dans+la+soci%C3%A9t%C3%A9+ivoirienne&author=Goran+K.+M.+A.&publication+year=2011>Google Scholar</a></div></div></div><div id="REFe-r-092" aria-flowto="reference-92-content reference-92-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 92 in the content" id="reference-92-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-92-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Gramsci</span>, <span class="given-names">A.</span></span>, <span class="year">1983</span>, <span class="source">Textes</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Éditions Sociales</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Textes' href=https://scholar.google.com/scholar_lookup?title=Textes&author=Gramsci+A.&publication+year=1983>Google Scholar</a></div></div></div><div id="REFe-r-093" aria-flowto="reference-93-content reference-93-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 93 in the content" id="reference-93-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-93-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Grignon</span>, <span class="given-names">C.</span></span>, <span class="year">2000</span>, ‘<span class="article-title">L’enquête sociologique, la critique sociale et l’expertise politique</span>’, <span class="source">Revue Européenne des Sciences Sociales</span>, <span class="volume">XXXVIII</span> <em class="italic">-</em><span class="issue"><em class="italic">118</em></span>, pp. <span class="fpage">101</span>–<span class="lpage">113</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for L’enquête sociologique, la critique sociale et l’expertise politique' href=https://dx.doi.org/10.4000/ress.695>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for L’enquête sociologique, la critique sociale et l’expertise politique' href=https://scholar.google.com/scholar_lookup?title=L%E2%80%99enqu%C3%AAte+sociologique%2C+la+critique+sociale+et+l%E2%80%99expertise+politique&author=Grignon+C.&publication+year=2000&journal=Revue+Europ%C3%A9enne+des+Sciences+Sociales&volume=XXXVIII&doi=10.4000%2Fress.695&pages=101-113>Google Scholar</a></div></div></div><div id="REFe-r-094" aria-flowto="reference-94-content reference-94-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 94 in the content" id="reference-94-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-94-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Guébo</span>, <span class="given-names">J.</span></span> (Ed.), <span class="year">2022</span>, <span class="source">Arafat DJ: Histoire et légende d’une comète</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Arafat DJ: Histoire et légende d’une comète' href=https://scholar.google.com/scholar_lookup?title=Arafat+DJ%3A+Histoire+et+l%C3%A9gende+d%E2%80%99une+com%C3%A8te&author=Gu%C3%A9bo+J.&publication+year=2022>Google Scholar</a></div></div></div><div id="REFe-r-095" aria-flowto="reference-95-content reference-95-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 95 in the content" id="reference-95-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-95-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Hall</span>, <span class="given-names">S.</span></span>, <span class="year">2007</span>, <span class="source">Identités et cultures: Politique des cultural studies</span>, edited by <span class="string-name"><span class="surname">Cervulle</span>, <span class="given-names">Maxime</span></span>, <span class="publisher-loc">Paris, Éditions Amsterdam</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Identités et cultures: Politique des cultural studies' href=https://scholar.google.com/scholar_lookup?title=Identit%C3%A9s+et+cultures%3A+Politique+des+cultural+studies&author=Hall+S.&author=Cervulle+Maxime&publication+year=2007>Google Scholar</a></div></div></div><div id="REFe-r-096" aria-flowto="reference-96-content reference-96-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 96 in the content" id="reference-96-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-96-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Hampâté Bâ</span>, <span class="given-names">A.</span></span>, <span class="year">1992</span>, <span class="source">Amkoulel, l’enfant peul</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Babel</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Amkoulel, l’enfant peul' href=https://scholar.google.com/scholar_lookup?title=Amkoulel%2C+l%E2%80%99enfant+peul&author=Hamp%C3%A2t%C3%A9+B%C3%A2+A.&publication+year=1992>Google Scholar</a></div></div></div><div id="REFe-r-097" aria-flowto="reference-97-content reference-97-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 97 in the content" id="reference-97-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-97-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Hegel</span>, <span class="given-names">G. W. F.</span></span>, éd.<span class="year">1964</span>, <span class="source">Introduction à l’esthétique</span>, <span class="publisher-name">Paris, Aubier-Montaigne.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Introduction à l’esthétique' href=https://scholar.google.com/scholar_lookup?title=Introduction+%C3%A0+l%E2%80%99esth%C3%A9tique&author=Hegel+G.+W.+F.&publication+year=1964>Google Scholar</a></div></div></div><div id="REFe-r-098" aria-flowto="reference-98-content reference-98-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 98 in the content" id="reference-98-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-98-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Hennion</span>, <span class="given-names">A.</span></span>, <span class="year">1981</span>, <span class="source">Les professionnels du disque: Une sociologie des variétés</span>, <span class="publisher-name">Paris, Métailié.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Les professionnels du disque: Une sociologie des variétés' href=https://scholar.google.com/scholar_lookup?title=Les+professionnels+du+disque%3A+Une+sociologie+des+vari%C3%A9t%C3%A9s&author=Hennion+A.&publication+year=1981>Google Scholar</a></div></div></div><div id="REFe-r-099" aria-flowto="reference-99-content reference-99-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 99 in the content" id="reference-99-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-99-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Hennion</span>, <span class="given-names">A.</span></span> & <span class="string-name"><span class="surname">Latour</span>, <span class="given-names">A.</span></span>, <span class="year">1996</span>, <span class="article-title">L’art, l’aura et la technique selon Benjamin ou comment devenir célèbre en faisant tant d’erreurs à la fois …</span> , <span class="source">Cahiers de médiologie</span>, No. <span class="volume">1</span>, pp. <span class="fpage">235</span>–<span class="lpage">241</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for L’art, l’aura et la technique selon Benjamin ou comment devenir célèbre en faisant tant d’erreurs à la fois …' href=https://dx.doi.org/10.3917/cdm.001.0235>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for L’art, l’aura et la technique selon Benjamin ou comment devenir célèbre en faisant tant d’erreurs à la fois …' href=https://scholar.google.com/scholar_lookup?title=L%E2%80%99art%2C+l%E2%80%99aura+et+la+technique+selon+Benjamin+ou+comment+devenir+c%C3%A9l%C3%A8bre+en+faisant+tant+d%E2%80%99erreurs+%C3%A0+la+fois+%E2%80%A6&author=Hennion+A.&author=Latour+A.&publication+year=1996&journal=Cahiers+de+m%C3%A9diologie&volume=1&doi=10.3917%2Fcdm.001.0235&pages=235-241>Google Scholar</a></div></div></div><div id="REFe-r-100" aria-flowto="reference-100-content reference-100-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 100 in the content" id="reference-100-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-100-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Herndon</span>, <span class="given-names">M.</span></span>, <span class="year">1992</span>, ‘<span class="chapter-title">Song</span>’, <span class="source">Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook</span>, <span class="string-name"><span class="surname">Bauman</span>, <span class="given-names">Richard</span></span> (Ed.), <span class="publisher-loc">Oxford</span>, <span class="publisher-name">Oxford University Press</span>, pp. <span class="fpage">159</span>–<span class="lpage">166</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https://dx.doi.org/10.1093/oso/9780195069198.003.0022>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https://scholar.google.com/scholar_lookup?title=Folklore%2C+Cultural+Performances%2C+and+Popular+Entertainments%3A+A+Communications-Centered+Handbook&author=Herndon+M.&author=Bauman+Richard&publication+year=1992&pages=159-166>Google Scholar</a></div></div></div><div id="REFe-r-101" aria-flowto="reference-101-content reference-101-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 101 in the content" id="reference-101-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-101-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Hobsbawm</span>, <span class="given-names">E.</span></span>, <span class="year">2006</span>[2012], ‘<span class="source"><em class="italic">Introduction: Inventing Traditions’,</em> The Invention of Tradition</span>, <span class="edition">new expanded</span> edition, <span class="string-name"><span class="surname">Hobsbawm</span>, <span class="given-names">Éric</span></span> & <span class="string-name"><span class="surname">Ranger</span>, <span class="given-names">Terence</span></span> (eds.), <span class="publisher-loc">Paris</span>, <span class="publisher-name">Éditions Amsterdam</span>, pp. <span class="fpage">27</span>–<span class="lpage">41</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Introduction: Inventing Traditions’, The Invention of Tradition' href=https://scholar.google.com/scholar_lookup?title=Introduction%3A+Inventing+Traditions%E2%80%99%2C+The+Invention+of+Tradition&author=Hobsbawm+E.&author=Hobsbawm+%C3%89ric&author=Ranger+Terence&publication+year=2006&pages=27-41>Google Scholar</a></div></div></div><div id="REFe-r-102" aria-flowto="reference-102-content reference-102-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 102 in the content" id="reference-102-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-102-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Kadi</span>, <span class="given-names">G.-A.</span></span>, <span class="year">2021</span>, <span class="source">La révolte du zouglou en Côte d’Ivoire: 30 ans de revendications (1991–2021)</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La révolte du zouglou en Côte d’Ivoire: 30 ans de revendications (1991–2021)' href=https://scholar.google.com/scholar_lookup?title=La+r%C3%A9volte+du+zouglou+en+C%C3%B4te+d%E2%80%99Ivoire%3A+30+ans+de+revendications+(1991%E2%80%932021)&author=Kadi+G.-A.&publication+year=2021>Google Scholar</a></div></div></div><div id="REFe-r-103" aria-flowto="reference-103-content reference-103-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 103 in the content" id="reference-103-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-103-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Kanga</span>, <span class="given-names">K.</span></span> & <span class="string-name"><span class="surname">Goran</span>, <span class="given-names">K. M. A.</span></span>, <span class="year">2017</span>, <span class="source">Didactics of music education: De la théorie à la pratique. Tome</span> <span class="volume">1</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Didactics of music education: De la théorie à la pratique. Tome' href=https://scholar.google.com/scholar_lookup?title=Didactics+of+music+education%3A+De+la+th%C3%A9orie+%C3%A0+la+pratique.+Tome&author=Kanga+K.&author=Goran+K.+M.+A.&publication+year=2017>Google Scholar</a></div></div></div><div id="REFe-r-104" aria-flowto="reference-104-content reference-104-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 104 in the content" id="reference-104-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-104-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Kebede</span>, <span class="given-names">A.</span></span>, <span class="year">1982</span>, <span class="source">Roots of Black Music: The Vocal, Instrumental and Dance Heritage of Africa and Black America</span>, <span class="publisher-loc">Englewood Cliffs, NJ</span>, <span class="publisher-name">Prentice Hall</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Roots of Black Music: The Vocal, Instrumental and Dance Heritage of Africa and Black America' href=https://scholar.google.com/scholar_lookup?title=Roots+of+Black+Music%3A+The+Vocal%2C+Instrumental+and+Dance+Heritage+of+Africa+and+Black+America&author=Kebede+A.&publication+year=1982>Google Scholar</a></div></div></div><div id="REFe-r-105" aria-flowto="reference-105-content reference-105-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 105 in the content" id="reference-105-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-105-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Kipré</span>, <span class="given-names">P.</span></span>, <span class="year">1986</span>, <span class="source">Villes de Côte d’Ivoire (1893–1940). Tome 2, Économie et société urbaine</span>, <span class="publisher-loc">Abidjan, NEA</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Villes de Côte d’Ivoire (1893–1940). Tome 2, Économie et société urbaine' href=https://scholar.google.com/scholar_lookup?title=Villes+de+C%C3%B4te+d%E2%80%99Ivoire+(1893%E2%80%931940).+Tome+2%2C+%C3%89conomie+et+soci%C3%A9t%C3%A9+urbaine&author=Kipr%C3%A9+P.&publication+year=1986>Google Scholar</a></div></div></div><div id="REFe-r-106" aria-flowto="reference-106-content reference-106-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 106 in the content" id="reference-106-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-106-content" class="circle-list__item__grouped__content"><span class="page-marker"></span><span class="string-name"><span class="surname">Kipré</span>, <span class="given-names">P.</span></span>, <span class="year">1985</span>, <span class="source">Villes de Côte d’Ivoire (1893–1940). Tome 1, La fondation des villes</span>, <span class="publisher-loc">Abidjan, NEA</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Villes de Côte d’Ivoire (1893–1940). Tome 1, La fondation des villes' href=https://scholar.google.com/scholar_lookup?title=Villes+de+C%C3%B4te+d%E2%80%99Ivoire+(1893%E2%80%931940).+Tome+1%2C+La+fondation+des+villes&author=Kipr%C3%A9+P.&publication+year=1985>Google Scholar</a></div></div></div><div id="REFe-r-107" aria-flowto="reference-107-content reference-107-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 107 in the content" id="reference-107-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-107-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Kipré</span>, <span class="given-names">P.</span></span>, <span class="year">1975</span>, ‘<span class="article-title">La place des centres urbains dans l’économie de la Côte d’Ivoire de 1920 à 1930</span>’, <span class="source">Annales de l’Université d’Abidjan, Série I (Histoire), Tome</span> <span class="volume">3</span>, pp. <span class="fpage">93</span>–<span class="lpage">120</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La place des centres urbains dans l’économie de la Côte d’Ivoire de 1920 à 1930' href=https://scholar.google.com/scholar_lookup?title=La+place+des+centres+urbains+dans+l%E2%80%99%C3%A9conomie+de+la+C%C3%B4te+d%E2%80%99Ivoire+de+1920+%C3%A0+1930&author=Kipr%C3%A9+P.&publication+year=1975&journal=Annales+de+l%E2%80%99Universit%C3%A9+d%E2%80%99Abidjan%2C+S%C3%A9rie+I+(Histoire)%2C+Tome&volume=3&pages=93-120>Google Scholar</a></div></div></div><div id="REFe-r-108" aria-flowto="reference-108-content reference-108-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 108 in the content" id="reference-108-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-108-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Koffi</span>, <span class="given-names">T.</span></span>, <span class="string-name"><span class="surname">Kipré</span>, <span class="given-names">A.</span></span> & <span class="string-name"><span class="surname">N’Ko</span>, <span class="given-names">L.</span></span>, <span class="year">2022</span>, <span class="source">Le grand livre de la musique ivoirienne, tome 1: Alpha Blondy et la galaxie reggae</span>, <span class="publisher-loc">Abidjan</span>, <span class="publisher-name">Éditions Éburnie</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le grand livre de la musique ivoirienne, tome 1: Alpha Blondy et la galaxie reggae' href=https://scholar.google.com/scholar_lookup?title=Le+grand+livre+de+la+musique+ivoirienne%2C+tome+1%3A+Alpha+Blondy+et+la+galaxie+reggae&author=Koffi+T.&author=Kipr%C3%A9+A.&author=N%E2%80%99Ko+L.&publication+year=2022>Google Scholar</a></div></div></div><div id="REFe-r-109" aria-flowto="reference-109-content reference-109-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 109 in the content" id="reference-109-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-109-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Kolé</span>, <span class="given-names">M.</span></span>, <span class="year">2023</span>, <span class="source">Ne cherchez pas à comprendre. Dansez seulement! Le Coupé-Décalé et les jeunes en Côte d’Ivoire</span>, <span class="publisher-loc">Bamenda, Langaa</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Ne cherchez pas à comprendre. Dansez seulement! Le Coupé-Décalé et les jeunes en Côte d’Ivoire' href=https://scholar.google.com/scholar_lookup?title=Ne+cherchez+pas+%C3%A0+comprendre.+Dansez+seulement!+Le+Coup%C3%A9-D%C3%A9cal%C3%A9+et+les+jeunes+en+C%C3%B4te+d%E2%80%99Ivoire&author=Kol%C3%A9+M.&publication+year=2023>Google Scholar</a></div></div></div><div id="REFe-r-110" aria-flowto="reference-110-content reference-110-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 110 in the content" id="reference-110-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-110-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Konaté</span>, <span class="given-names">Y.</span></span>, <span class="year">2002</span>, ‘<span class="chapter-title">Génération zouglou</span>’, <span class="source">Cahiers d’études africaines</span>, Vol. <span class="volume">168</span>, No. XLII-4, <span class="publisher-loc">Paris</span>, <span class="publisher-name">EHESS</span>, pp. <span class="fpage">777</span>–<span class="lpage">796</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Cahiers d’études africaines' href=https://scholar.google.com/scholar_lookup?title=Cahiers+d%E2%80%99%C3%A9tudes+africaines&author=Konat%C3%A9+Y.&publication+year=2002&pages=777-796>Google Scholar</a></div></div></div><div id="REFe-r-111" aria-flowto="reference-111-content reference-111-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 111 in the content" id="reference-111-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-111-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Konaté</span>, <span class="given-names">Y.</span></span>, <span class="year">1987</span>, <span class="source">Alpha Blondy: Reggae et société en Afrique noire</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Karthala</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Alpha Blondy: Reggae et société en Afrique noire' href=https://scholar.google.com/scholar_lookup?title=Alpha+Blondy%3A+Reggae+et+soci%C3%A9t%C3%A9+en+Afrique+noire&author=Konat%C3%A9+Y.&publication+year=1987>Google Scholar</a></div></div></div><div id="REFe-r-112" aria-flowto="reference-112-content reference-112-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 112 in the content" id="reference-112-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-112-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Koné</span>, <span class="given-names">B.</span></span>, <span class="year">2020</span>, ‘<span class="chapter-title">La cantatrice Zélé de Papara, une voix au service de la justice et de l’égalité en pays sénoufo</span>’, <span class="source">Droits de l’homme en arts, littératures et sciences humaines en Afrique</span>, <span class="publisher-loc">André Banhouman Kamaté</span> (Ed.), <span class="string-name"><span class="surname">Paris</span>, <span class="given-names">Edilivre</span></span>, pp. <span class="fpage">45</span>–<span class="lpage">69</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Droits de l’homme en arts, littératures et sciences humaines en Afrique' href=https://scholar.google.com/scholar_lookup?title=Droits+de+l%E2%80%99homme+en+arts%2C+litt%C3%A9ratures+et+sciences+humaines+en+Afrique&author=Kon%C3%A9+B.&author=Paris+Edilivre&publication+year=2020&pages=45-69>Google Scholar</a></div></div></div><div id="REFe-r-113" aria-flowto="reference-113-content reference-113-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 113 in the content" id="reference-113-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-113-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Koné</span>, <span class="given-names">H.</span></span>, <span class="year">1989</span>, <span class="source">La dynamique des médias dans les sociétés en mutations: Le cas de la Côte d’Ivoire</span>, Thèse de Doctorat d’État, 2t, <span class="publisher-name">Strasbourg, Université de Strasbourg.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for La dynamique des médias dans les sociétés en mutations: Le cas de la Côte d’Ivoire' href=https://scholar.google.com/scholar_lookup?title=La+dynamique+des+m%C3%A9dias+dans+les+soci%C3%A9t%C3%A9s+en+mutations%3A+Le+cas+de+la+C%C3%B4te+d%E2%80%99Ivoire&author=Kon%C3%A9+H.&publication+year=1989>Google Scholar</a></div></div></div><div id="REFe-r-114" aria-flowto="reference-114-content reference-114-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 114 in the content" id="reference-114-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-114-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Kossonou</span>, <span class="given-names">H.</span></span>, <span class="year">2020</span>, <span class="source">La conservation et la transcription des œuvres musicales du service des archives de la documentation générale du BURIDA: Enjeux et perspectives</span>, doctoral thesis in Art and Culture, <span class="publisher-loc">Abidjan</span>, <span class="publisher-name">INSAAC-IRES-RDEC</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La conservation et la transcription des œuvres musicales du service des archives de la documentation générale du BURIDA: Enjeux et perspectives' href=https://scholar.google.com/scholar_lookup?title=La+conservation+et+la+transcription+des+%C5%93uvres+musicales+du+service+des+archives+de+la+documentation+g%C3%A9n%C3%A9rale+du+BURIDA%3A+Enjeux+et+perspectives&author=Kossonou+H.&publication+year=2020>Google Scholar</a></div></div></div><div id="REFe-r-115" aria-flowto="reference-115-content reference-115-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 115 in the content" id="reference-115-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-115-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Kouvouama</span>, <span class="given-names">A.</span></span>, <span class="year">2013</span>, <span class="source">Anthropologie de la chanson congolaise de variétés: Imaginaire, production du sens</span>, <span class="publisher-loc">Brazzaville – Paris</span>, <span class="publisher-name">PAARI</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Anthropologie de la chanson congolaise de variétés: Imaginaire, production du sens' href=https://scholar.google.com/scholar_lookup?title=Anthropologie+de+la+chanson+congolaise+de+vari%C3%A9t%C3%A9s%3A+Imaginaire%2C+production+du+sens&author=Kouvouama+A.&publication+year=2013>Google Scholar</a></div></div></div><div id="REFe-r-116" aria-flowto="reference-116-content reference-116-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 116 in the content" id="reference-116-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-116-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Kua-Nzambi Toko</span>, <span class="given-names">A.</span></span> <span class="year">2018</span>, ‘Musique africaine et répertoire choral’, musicologie.org, <a class="uri" href="http://www.musicologie.org/publirem/musique%5Fafricaine%5Fet%5Frepertoire%5Fchoral.html">www.musicologie.org/publirem/musique_africaine_et_repertoire_choral.html</a>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Kua-Nzambi Toko, A. 2018, ‘Musique africaine et répertoire choral’, musicologie.org, www.musicologie.org/publirem/musique_africaine_et_repertoire_choral.html.' href=https://scholar.google.com/scholar?q=Kua-Nzambi+Toko,+A.+2018,+‘Musique+africaine+et+répertoire+choral’,+musicologie.org,+www.musicologie.org/publirem/musique_africaine_et_repertoire_choral.html.>Google Scholar</a></div></div></div><div id="REFe-r-117" aria-flowto="reference-117-content reference-117-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 117 in the content" id="reference-117-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-117-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Laffanour</span>, <span class="given-names">A.</span></span>, éd., <span class="year">2003</span>, <span class="source">Territoires de musiques et cultures urbaines: Rock, rap, techno… l’émergence de la création musicale à l’heure de la mondialisation</span>, <span class="publisher-name">Paris, L’Harmattan.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Territoires de musiques et cultures urbaines: Rock, rap, techno… l’émergence de la création musicale à l’heure de la mondialisation' href=https://scholar.google.com/scholar_lookup?title=Territoires+de+musiques+et+cultures+urbaines%3A+Rock%2C+rap%2C+techno%E2%80%A6+l%E2%80%99%C3%A9mergence+de+la+cr%C3%A9ation+musicale+%C3%A0+l%E2%80%99heure+de+la+mondialisation&author=Laffanour+A.&publication+year=2003>Google Scholar</a></div></div></div><div id="REFe-r-118" aria-flowto="reference-118-content reference-118-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 118 in the content" id="reference-118-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-118-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Lamizet</span>, <span class="given-names">B.</span></span>, <span class="year">2002</span>, <span class="source">Le sens de la ville</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le sens de la ville' href=https://scholar.google.com/scholar_lookup?title=Le+sens+de+la+ville&author=Lamizet+B.&publication+year=2002>Google Scholar</a></div></div></div><div id="REFe-r-119" aria-flowto="reference-119-content reference-119-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 119 in the content" id="reference-119-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-119-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Latour</span>, <span class="given-names">B.</span></span>, <span class="year">2007</span>, <span class="source">Changer la société, refaire de la sociologie</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">La Découverte/Poche.</span><a class='ref-link' target='_blank' aria-label='CrossRef link for Changer la société, refaire de la sociologie' href=https://dx.doi.org/10.3917/dec.latour.2007.01>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Changer la société, refaire de la sociologie' href=https://scholar.google.com/scholar_lookup?title=Changer+la+soci%C3%A9t%C3%A9%2C+refaire+de+la+sociologie&author=Latour+B.&publication+year=2007>Google Scholar</a></div></div></div><div id="REFe-r-120" aria-flowto="reference-120-content reference-120-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 120 in the content" id="reference-120-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-120-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Land</span>, <span class="given-names">Mitchell F.</span></span>, <span class="year">1995</span>, ‘<span class="article-title">Reggae, resistance and the State: Television and popular music in Côte d’Ivoire</span>’, <span class="source">Critical Studies in Mass Communication</span>, Vol. <span class="volume">12</span>, No. <span class="issue">4</span>, pp. <span class="fpage">438</span>–<span class="lpage">454</span> [online 18 May 2009]. <a class="uri" href="https://doi.org/10.1080/15295039509366950">https://doi.org/10.1080/15295039509366950</a>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Reggae, resistance and the State: Television and popular music in Côte d’Ivoire' href=https://dx.doi.org/10.1080/15295039509366950>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Reggae, resistance and the State: Television and popular music in Côte d’Ivoire' href=https://scholar.google.com/scholar_lookup?title=Reggae%2C+resistance+and+the+State%3A+Television+and+popular+music+in+C%C3%B4te+d%E2%80%99Ivoire&author=Land+Mitchell+F.&publication+year=1995&journal=Critical+Studies+in+Mass+Communication&volume=12&doi=10.1080%2F15295039509366950&pages=438-454>Google Scholar</a></div></div></div><div id="REFe-r-121" aria-flowto="reference-121-content reference-121-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 121 in the content" id="reference-121-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-121-content" class="circle-list__item__grouped__content"><span class="page-marker"></span><span class="string-name"><span class="surname">Land</span>, <span class="given-names">Mitchell</span></span>, <span class="year">1992</span>, ‘<span class="article-title">Ivoirian television, willing vector of cultural imperialism</span>’, <span class="source">Howard Journal of Communications</span>, Vol. <span class="volume">4</span>, Nos. 1–<span class="issue">2</span>, pp. <span class="fpage">10</span>–<span class="lpage">27</span> [online 27 February 2009]. DOI: <a class="uri" href="https://doi.org/10.1080/10646179209359762">https://doi.org/10.1080/10646179209359762</a>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Ivoirian television, willing vector of cultural imperialism' href=https://dx.doi.org/10.1080/10646179209359762>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Ivoirian television, willing vector of cultural imperialism' href=https://scholar.google.com/scholar_lookup?title=Ivoirian+television%2C+willing+vector+of+cultural+imperialism&author=Land+Mitchell&publication+year=1992&journal=Howard+Journal+of+Communications&volume=4&doi=10.1080%2F10646179209359762&pages=10-27>Google Scholar</a></div></div></div><div id="REFe-r-122" aria-flowto="reference-122-content reference-122-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 122 in the content" id="reference-122-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-122-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Laye</span>, <span class="given-names">C.</span></span>, <span class="year">1978</span>, <span class="source">Le maître de la parole: Kouma lafôlô kouma</span>, <span class="publisher-name">Paris, Plon.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Le maître de la parole: Kouma lafôlô kouma' href=https://scholar.google.com/scholar_lookup?title=Le+ma%C3%AEtre+de+la+parole%3A+Kouma+laf%C3%B4l%C3%B4+kouma&author=Laye+C.&publication+year=1978>Google Scholar</a></div></div></div><div id="REFe-r-123" aria-flowto="reference-123-content reference-123-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 123 in the content" id="reference-123-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-123-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Le Pape</span>, <span class="given-names">M.</span></span>, <span class="year">1997</span>, <span class="source">L’énergie sociale à Abidjan: Économie politique de la ville en Afrique noire, 1930–1995</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Karthala</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for L’énergie sociale à Abidjan: Économie politique de la ville en Afrique noire, 1930–1995' href=https://scholar.google.com/scholar_lookup?title=L%E2%80%99%C3%A9nergie+sociale+%C3%A0+Abidjan%3A+%C3%89conomie+politique+de+la+ville+en+Afrique+noire%2C+1930%E2%80%931995&author=Le+Pape+M.&publication+year=1997>Google Scholar</a></div></div></div><div id="REFe-r-124" aria-flowto="reference-124-content reference-124-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 124 in the content" id="reference-124-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-124-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Leimdorfer</span>, <span class="given-names">F.</span></span>, <span class="year">2006</span>, ‘“<span class="article-title">Tu sais, on est en Afrique”: Essai d’analyse de séquences discursives orales</span>’, <span class="source">Semen</span> <span class="volume">21</span> [online 28 April 2007], accessed 9 January 2021. <a class="uri" href="http://journals.openedition.org/semen/1948">http://journals.openedition.org/semen/1948</a>; DOI: <a class="uri" href="https://doi.org/10.4000/semen.1948">https://doi.org/10.4000/semen.1948</a>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Tu sais, on est en Afrique”: Essai d’analyse de séquences discursives orales' href=https://scholar.google.com/scholar_lookup?title=Tu+sais%2C+on+est+en+Afrique%E2%80%9D%3A+Essai+d%E2%80%99analyse+de+s%C3%A9quences+discursives+orales&author=Leimdorfer+F.&publication+year=2006&journal=Semen&volume=21>Google Scholar</a></div></div></div><div id="REFe-r-125" aria-flowto="reference-125-content reference-125-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 125 in the content" id="reference-125-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-125-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Lévi-Strauss</span>, <span class="given-names">C.</span></span>, <span class="year">1962</span>, <span class="source">Anthropologie structurale 2</span>, <span class="publisher-loc">Paris, Plon</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Anthropologie structurale 2' href=https://scholar.google.com/scholar_lookup?title=Anthropologie+structurale+2&author=L%C3%A9vi-Strauss+C.&publication+year=1962>Google Scholar</a></div></div></div><div id="REFe-r-126" aria-flowto="reference-126-content reference-126-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 126 in the content" id="reference-126-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-126-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Lévi-Strauss</span>, <span class="given-names">C.</span></span>, <span class="year">1958</span>[1974] <span class="source">, Anthropologie structurale</span>, <span class="publisher-loc">Paris, Plon</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for , Anthropologie structurale' href=https://scholar.google.com/scholar_lookup?title=%2C+Anthropologie+structurale&author=L%C3%A9vi-Strauss+C.&publication+year=1958>Google Scholar</a></div></div></div><div id="REFe-r-127" aria-flowto="reference-127-content reference-127-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 127 in the content" id="reference-127-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-127-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Lyotard</span>, <span class="given-names">J.-F.</span></span>, <span class="year">1979</span>, <span class="source">La condition postmoderne</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Minuit</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La condition postmoderne' href=https://scholar.google.com/scholar_lookup?title=La+condition+postmoderne&author=Lyotard+J.-F.&publication+year=1979>Google Scholar</a></div></div></div><div id="REFe-r-128" aria-flowto="reference-128-content reference-128-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 128 in the content" id="reference-128-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-128-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Macamo</span>, <span class="given-names">E.</span></span>, <span class="year">2005</span>, ‘<span class="chapter-title">Introduction. Negotiating modernity: From colonialism to globalization</span>’, in <span class="source">Negotiating Modernity: Africa’s Ambivalent Experience</span>, <span class="string-name"><span class="surname">Macamo</span>, <span class="given-names">Elisio Salvado</span></span> (Ed.), <span class="publisher-loc">Dakar-London, Codesria-Z Books</span>, pp. <span class="fpage">1</span>–<span class="lpage">16</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Negotiating Modernity: Africa’s Ambivalent Experience' href=https://scholar.google.com/scholar_lookup?title=Negotiating+Modernity%3A+Africa%E2%80%99s+Ambivalent+Experience&author=Macamo+E.&author=Macamo+Elisio+Salvado&publication+year=2005&pages=1-16>Google Scholar</a></div></div></div><div id="REFe-r-129" aria-flowto="reference-129-content reference-129-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 129 in the content" id="reference-129-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-129-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Maffesoli</span>, <span class="given-names">M.</span></span>, <span class="year">1988</span>, <span class="source">Le temps des tribus: Le déclin de l’individualisme dans les sociétés de masse</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Le Livre de Poche</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le temps des tribus: Le déclin de l’individualisme dans les sociétés de masse' href=https://scholar.google.com/scholar_lookup?title=Le+temps+des+tribus%3A+Le+d%C3%A9clin+de+l%E2%80%99individualisme+dans+les+soci%C3%A9t%C3%A9s+de+masse&author=Maffesoli+M.&publication+year=1988>Google Scholar</a></div></div></div><div id="REFe-r-130" aria-flowto="reference-130-content reference-130-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 130 in the content" id="reference-130-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-130-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Martin</span>, <span class="given-names">D.-C.</span></span>, <span class="year">2012</span>, ‘<span class="chapter-title">The Musical Heritage of Slavery: From Creolization to “World Music</span>”’, <span class="source">Music and Globalization: Critical Encounters</span>, <span class="string-name"><span class="surname">Bob</span>, <span class="given-names">W. White</span></span> (Ed.), Bloomington, <span class="publisher-name">Indiana University Press</span>, pp. <span class="fpage">17</span>–<span class="lpage">39</span>, accessed 29 October 2020, <a class="uri" href="http://www.jstor.org/stable/j.ctt16gzm34.5">www.jstor.org/stable/j.ctt16gzm34.5</a>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Music and Globalization: Critical Encounters' href=https://scholar.google.com/scholar_lookup?title=Music+and+Globalization%3A+Critical+Encounters&author=Martin+D.-C.&author=Bob+W.+White&publication+year=2012&pages=17-39>Google Scholar</a></div></div></div><div id="REFe-r-131" aria-flowto="reference-131-content reference-131-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 131 in the content" id="reference-131-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-131-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Masselis</span>, <span class="given-names">J.</span></span>, <span class="year">2016</span>, ‘Platon, ou la musique au cœur d’un projet politique’, [online] <a class="uri" href="http://www.francemusique.fr/actualite-musicale/platon-ou-la-musique-au-coeur-d-un-projet-politique-277">www.francemusique.fr/actualite-musicale/platon-ou-la-musique-au-coeur-d-un-projet-politique-277</a>, accessed 28 February <span class="year">2020</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Masselis, J., 2016, ‘Platon, ou la musique au cœur d’un projet politique’, [online] www.francemusique.fr/actualite-musicale/platon-ou-la-musique-au-coeur-d-un-projet-politique-277, accessed 28 February 2020.' href=https://scholar.google.com/scholar?q=Masselis,+J.,+2016,+‘Platon,+ou+la+musique+au+cœur+d’un+projet+politique’,+[online]+www.francemusique.fr/actualite-musicale/platon-ou-la-musique-au-coeur-d-un-projet-politique-277,+accessed+28+February+2020.>Google Scholar</a></div></div></div><div id="REFe-r-132" aria-flowto="reference-132-content reference-132-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 132 in the content" id="reference-132-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-132-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Massoumou</span>, <span class="given-names">O.</span></span> & <span class="string-name"><span class="surname">Queffélec</span>, <span class="given-names">A. J.-M.</span></span>, <span class="year">2007</span>, <span class="source">Le français en république démocratique du Congo: Sous l’ère multipartiste (1991–2006)</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Éditions des archives contemporaines</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le français en république démocratique du Congo: Sous l’ère multipartiste (1991–2006)' href=https://scholar.google.com/scholar_lookup?title=Le+fran%C3%A7ais+en+r%C3%A9publique+d%C3%A9mocratique+du+Congo%3A+Sous+l%E2%80%99%C3%A8re+multipartiste+(1991%E2%80%932006)&author=Massoumou+O.&author=Queff%C3%A9lec+A.+J.-M.&publication+year=2007>Google Scholar</a></div></div></div><div id="REFe-r-133" aria-flowto="reference-133-content reference-133-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 133 in the content" id="reference-133-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-133-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Mauss</span>, <span class="given-names">M.</span></span>, <span class="year">1925</span>[2012]<span class="chapter-title">, <em class="italic">Essai sur le don:</em></span> <span class="source">Form and Reason of Exchange in Archaic Societies</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">PUF, Quadrige</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Form and Reason of Exchange in Archaic Societies' href=https://scholar.google.com/scholar_lookup?title=Form+and+Reason+of+Exchange+in+Archaic+Societies&author=Mauss+M.&publication+year=1925>Google Scholar</a></div></div></div><div id="REFe-r-134" aria-flowto="reference-134-content reference-134-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 134 in the content" id="reference-134-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-134-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Mazzoleni</span>, <span class="given-names">F.</span></span>, <span class="year">2010</span>, ‘Les musiques des indépendances africaines’, <em class="italic">Africultures</em> [Online], <a class="uri" href="http://africultures.com/les-musiques-des-independances-africaines-9859/09.08.2018">http://africultures.com/les-musiques-des-independances-africaines-9859/09.08.2018</a>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Mazzoleni, F., 2010, ‘Les musiques des indépendances africaines’, Africultures [Online], http://africultures.com/les-musiques-des-independances-africaines-9859/09.08.2018.' href=https://scholar.google.com/scholar?q=Mazzoleni,+F.,+2010,+‘Les+musiques+des+indépendances+africaines’,+Africultures+[Online],+http://africultures.com/les-musiques-des-independances-africaines-9859/09.08.2018.>Google Scholar</a></div></div></div><div id="REFe-r-135" aria-flowto="reference-135-content reference-135-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 135 in the content" id="reference-135-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-135-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Mbembe</span>, <span class="given-names">J. A.</span></span>, <span class="year">1985</span>, <span class="source">Les jeunes et l’ordre politique en Afrique noire</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les jeunes et l’ordre politique en Afrique noire' href=https://scholar.google.com/scholar_lookup?title=Les+jeunes+et+l%E2%80%99ordre+politique+en+Afrique+noire&author=Mbembe+J.+A.&publication+year=1985>Google Scholar</a></div></div></div><div id="REFe-r-136" aria-flowto="reference-136-content reference-136-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 136 in the content" id="reference-136-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-136-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Memel-Fotê</span>, <span class="given-names">H.</span></span>, <span class="year">1991</span>, ‘<span class="chapter-title">Des ancêtre fondateurs aux Pères de la nation: Introduction à une anthropologie de la démocratie</span>’, <span class="source"><em class="italic">XIIIe conférence March Bloch</em></span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Ecole des Hautes Etudes en Sciences Sociales</span>, 18 June <span class="year">1991</span>; <a class="uri" href="http://www.ehess.fr/sites/default/files/pagedebase/fichiers/harris%5Fmemel-fote.pdf">www.ehess.fr/sites/default/files/pagedebase/fichiers/harris_memel-fote.pdf</a>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for XIIIe conférence March Bloch' href=https://scholar.google.com/scholar_lookup?title=XIIIe+conf%C3%A9rence+March+Bloch&author=Memel-Fot%C3%AA+H.&publication+year=1991>Google Scholar</a></div></div></div><div id="REFe-r-137" aria-flowto="reference-137-content reference-137-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 137 in the content" id="reference-137-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-137-content" class="circle-list__item__grouped__content"><span class="page-marker"></span><span class="string-name"><span class="surname">Meyer</span>, <span class="given-names">M.</span></span>, <span class="year">1997</span>, <span class="source">Qu’est-ce que la philosophie</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Livre de poche</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Qu’est-ce que la philosophie' href=https://scholar.google.com/scholar_lookup?title=Qu%E2%80%99est-ce+que+la+philosophie&author=Meyer+M.&publication+year=1997>Google Scholar</a></div></div></div><div id="REFe-r-138" aria-flowto="reference-138-content reference-138-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 138 in the content" id="reference-138-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-138-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Meyran</span>, <span class="given-names">R.</span></span>, <span class="year">2014</span>, ‘Les musiques urbaines, ou la subversion des codes esthétiques occidentaux’, <a class="uri" href="http://www.espacestemps.net/articles/les-musiques-urbaines-ou-la-subversion-des-codes-esthetiques-occidentaux/">www.espacestemps.net/articles/les-musiques-urbaines-ou-la-subversion-des-codes-esthetiques-occidentaux/</a>, accessed 9 March 2019.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Meyran, R., 2014, ‘Les musiques urbaines, ou la subversion des codes esthétiques occidentaux’, www.espacestemps.net/articles/les-musiques-urbaines-ou-la-subversion-des-codes-esthetiques-occidentaux/, accessed 9 March 2019.' href=https://scholar.google.com/scholar?q=Meyran,+R.,+2014,+‘Les+musiques+urbaines,+ou+la+subversion+des+codes+esthétiques+occidentaux’,+www.espacestemps.net/articles/les-musiques-urbaines-ou-la-subversion-des-codes-esthetiques-occidentaux/,+accessed+9+March+2019.>Google Scholar</a></div></div></div><div id="REFe-r-139" aria-flowto="reference-139-content reference-139-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 139 in the content" id="reference-139-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-139-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Mignon</span>, <span class="given-names">J. M.</span></span>, <span class="year">1984</span>, <span class="source">Afrique: Jeunesses uniques, jeunesse encadrée</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Afrique: Jeunesses uniques, jeunesse encadrée' href=https://scholar.google.com/scholar_lookup?title=Afrique%3A+Jeunesses+uniques%2C+jeunesse+encadr%C3%A9e&author=Mignon+J.+M.&publication+year=1984>Google Scholar</a></div></div></div><div id="REFe-r-140" aria-flowto="reference-140-content reference-140-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 140 in the content" id="reference-140-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-140-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Mkandawire</span>, <span class="given-names">T.</span></span>, <span class="year">2005</span>, ‘<span class="source"><em class="italic">Introduction’,</em> African Intellectuals: Rethinking Politics, Language, Gender and Development</span>. <span class="string-name"><span class="surname">Mkandawire</span>, <span class="given-names">Thandika</span></span> (Ed.), pp. <span class="fpage">1</span>–<span class="lpage">9</span> <span class="publisher-loc">Dakar</span>: <span class="publisher-name">CODESRIA/Zed Books</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Introduction’, African Intellectuals: Rethinking Politics, Language, Gender and Development' href=https://scholar.google.com/scholar_lookup?title=Introduction%E2%80%99%2C+African+Intellectuals%3A+Rethinking+Politics%2C+Language%2C+Gender+and+Development&author=Mkandawire+T.&author=Mkandawire+Thandika&publication+year=2005&pages=1-9>Google Scholar</a></div></div></div><div id="REFe-r-141" aria-flowto="reference-141-content reference-141-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 141 in the content" id="reference-141-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-141-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Moessinger</span>, <span class="given-names">P.</span></span>, <span class="year">2000</span>, <span class="source">Le jeu de l’identité</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Presses universitaires de France</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le jeu de l’identité' href=https://scholar.google.com/scholar_lookup?title=Le+jeu+de+l%E2%80%99identit%C3%A9&author=Moessinger+P.&publication+year=2000>Google Scholar</a></div></div></div><div id="REFe-r-142" aria-flowto="reference-142-content reference-142-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 142 in the content" id="reference-142-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-142-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Molino</span>, <span class="given-names">J.</span></span>, <span class="year">2009</span>. <span class="source">Le Singe Musicien: Sémiologie et anthropologie de la musique</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Actes Sud/INA</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le Singe Musicien: Sémiologie et anthropologie de la musique' href=https://scholar.google.com/scholar_lookup?title=Le+Singe+Musicien%3A+S%C3%A9miologie+et+anthropologie+de+la+musique&author=Molino+J.&publication+year=2009>Google Scholar</a></div></div></div><div id="REFe-r-143" aria-flowto="reference-143-content reference-143-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 143 in the content" id="reference-143-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-143-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Moreau de Bellaing</span>, <span class="given-names">L.</span></span>, <span class="year">1990</span>, <span class="source">Sociologie de l’autorité</span>, <span class="publisher-loc">Paris, L’Harmattan.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Sociologie de l’autorité' href=https://scholar.google.com/scholar_lookup?title=Sociologie+de+l%E2%80%99autorit%C3%A9&author=Moreau+de+Bellaing+L.&publication+year=1990>Google Scholar</a></div></div></div><div id="REFe-r-144" aria-flowto="reference-144-content reference-144-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 144 in the content" id="reference-144-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-144-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Mouchtouris</span>, <span class="given-names">A.</span></span>, <span class="year">2007</span>, <span class="source">Sociologie de la culture populaire</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Sociologie de la culture populaire' href=https://scholar.google.com/scholar_lookup?title=Sociologie+de+la+culture+populaire&author=Mouchtouris+A.&publication+year=2007>Google Scholar</a></div></div></div><div id="REFe-r-145" aria-flowto="reference-145-content reference-145-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 145 in the content" id="reference-145-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-145-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Murray Schafer</span>, <span class="given-names">R.</span></span>, 1979[<span class="year">2010</span>]<span class="source">, The soundscape: Le monde comme musique</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Wildproject</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for , The soundscape: Le monde comme musique' href=https://scholar.google.com/scholar_lookup?title=%2C+The+soundscape%3A+Le+monde+comme+musique&author=Murray+Schafer+R.&publication+year=2010>Google Scholar</a></div></div></div><div id="REFe-r-146" aria-flowto="reference-146-content reference-146-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 146 in the content" id="reference-146-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-146-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Nattiez</span>, <span class="given-names">J.-J.</span></span>, <span class="year">2009</span>, ‘<span class="chapter-title">Introduction à l’œuvre musicologique de Jean Molino</span>’, in <span class="source">Le Singe Musicien: Sémiologie et anthropologie de la musique</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Actes Sud/INA</span>, pp. <span class="fpage">13</span>–<span class="lpage">70</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le Singe Musicien: Sémiologie et anthropologie de la musique' href=https://scholar.google.com/scholar_lookup?title=Le+Singe+Musicien%3A+S%C3%A9miologie+et+anthropologie+de+la+musique&author=Nattiez+J.-J.&publication+year=2009&pages=13-70>Google Scholar</a></div></div></div><div id="REFe-r-147" aria-flowto="reference-147-content reference-147-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 147 in the content" id="reference-147-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-147-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">N’Da</span>, <span class="given-names">P.</span></span>, <span class="year">1999</span>, <span class="source">Le drame démocratique africain sur scène en Côte d’Ivoire</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le drame démocratique africain sur scène en Côte d’Ivoire' href=https://scholar.google.com/scholar_lookup?title=Le+drame+d%C3%A9mocratique+africain+sur+sc%C3%A8ne+en+C%C3%B4te+d%E2%80%99Ivoire&author=N%E2%80%99Da+P.&publication+year=1999>Google Scholar</a></div></div></div><div id="REFe-r-148" aria-flowto="reference-148-content reference-148-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 148 in the content" id="reference-148-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-148-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Nganguè</span>, <span class="given-names">E.</span></span>, <span class="year">2009</span>, <span class="source">La musique dans le débat politique et identitaire en Côte d’Ivoire: Le cas du zouglou</span>, PhD thesis, <span class="publisher-loc">Paris, École des Hautes Études en Sciences Sociales</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La musique dans le débat politique et identitaire en Côte d’Ivoire: Le cas du zouglou' href=https://scholar.google.com/scholar_lookup?title=La+musique+dans+le+d%C3%A9bat+politique+et+identitaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Le+cas+du+zouglou&author=Ngangu%C3%A8+E.&publication+year=2009>Google Scholar</a></div></div></div><div id="REFe-r-149" aria-flowto="reference-149-content reference-149-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 149 in the content" id="reference-149-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-149-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Ngoran</span>, <span class="given-names">E. Y.</span></span>, <span class="year">2013</span>, <span class="source">La rumba congolaise: Sa splendeur, ses effluves, ses profondeurs</span>, <span class="publisher-loc">Abidjan, l’Encre Bleue.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for La rumba congolaise: Sa splendeur, ses effluves, ses profondeurs' href=https://scholar.google.com/scholar_lookup?title=La+rumba+congolaise%3A+Sa+splendeur%2C+ses+effluves%2C+ses+profondeurs&author=Ngoran+E.+Y.&publication+year=2013>Google Scholar</a></div></div></div><div id="REFe-r-150" aria-flowto="reference-150-content reference-150-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 150 in the content" id="reference-150-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-150-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Niane</span>, <span class="given-names">D. T.</span></span>, <span class="year">1960</span>, <span class="source">Soundjata ou l’épopée mandingue</span>, <span class="publisher-loc">Paris, Présence africaine.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Soundjata ou l’épopée mandingue' href=https://scholar.google.com/scholar_lookup?title=Soundjata+ou+l%E2%80%99%C3%A9pop%C3%A9e+mandingue&author=Niane+D.+T.&publication+year=1960>Google Scholar</a></div></div></div><div id="REFe-r-151" aria-flowto="reference-151-content reference-151-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 151 in the content" id="reference-151-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-151-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Nyamnjoh</span>, <span class="given-names">F. B.</span></span>, <span class="year">2020</span>, ‘Manu Dibango: Afropolitan musical genius with a giant heart’, <a class="uri" href="https://theconversation.com/manu-dibango-afropolitan-musical-genius-with-a-giant-heart-134679">https://theconversation.com/manu-dibango-afropolitan-musical-genius-with-a-giant-heart-134679</a>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Nyamnjoh, F. B., 2020, ‘Manu Dibango: Afropolitan musical genius with a giant heart’, https://theconversation.com/manu-dibango-afropolitan-musical-genius-with-a-giant-heart-134679.' href=https://scholar.google.com/scholar?q=Nyamnjoh,+F.+B.,+2020,+‘Manu+Dibango:+Afropolitan+musical+genius+with+a+giant+heart’,+https://theconversation.com/manu-dibango-afropolitan-musical-genius-with-a-giant-heart-134679.>Google Scholar</a></div></div></div><div id="REFe-r-152" aria-flowto="reference-152-content reference-152-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 152 in the content" id="reference-152-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-152-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Nyamnjoh</span>, <span class="given-names">F. B.</span></span>, <span class="year">2019</span>, ‘ICTs as Juju: African inspiration for understanding the compositeness of being human through digital technologies’, <span class="source">Journal of African Media Studies</span>, Vol. <span class="volume">11</span>, No. <span class="issue">3</span>, pp. <span class="fpage">279</span>–<span class="lpage">291</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Nyamnjoh, F. B., 2019, ‘ICTs as Juju: African inspiration for understanding the compositeness of being human through digital technologies’, Journal of African Media Studies, Vol. 11, No. 3, pp. 279–291.' href=https://dx.doi.org/10.1386/jams_00001_1>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Nyamnjoh, F. B., 2019, ‘ICTs as Juju: African inspiration for understanding the compositeness of being human through digital technologies’, Journal of African Media Studies, Vol. 11, No. 3, pp. 279–291.' href=https://scholar.google.com/scholar?q=Nyamnjoh,+F.+B.,+2019,+‘ICTs+as+Juju:+African+inspiration+for+understanding+the+compositeness+of+being+human+through+digital+technologies’,+Journal+of+African+Media+Studies,+Vol.+11,+No.+3,+pp.+279–291.>Google Scholar</a></div></div></div><div id="REFe-r-153" aria-flowto="reference-153-content reference-153-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 153 in the content" id="reference-153-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-153-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Nyamnjoh</span>, <span class="given-names">F. B.</span></span>, <span class="year">2018</span>, ‘’Introduction: Cannibalism as food for thought’, in <span class="source">Eating and Being Eaten: Cannibalism as Food for Thought</span>, <span class="string-name"><span class="surname">Francis</span>, <span class="given-names">B. Nyamnjoh</span></span> (Ed.), <span class="publisher-loc">Bamenda, Langaa</span>, pp. <span class="fpage">1</span>–<span class="lpage">98</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Eating and Being Eaten: Cannibalism as Food for Thought' href=https://scholar.google.com/scholar_lookup?title=Eating+and+Being+Eaten%3A+Cannibalism+as+Food+for+Thought&author=Nyamnjoh+F.+B.&author=Francis+B.+Nyamnjoh&publication+year=2018&pages=1-98>Google Scholar</a></div></div></div><div id="REFe-r-154" aria-flowto="reference-154-content reference-154-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 154 in the content" id="reference-154-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-154-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Nyamnjoh</span>, <span class="given-names">F. B.</span></span>, <span class="year">2017</span>, ‘Incompleteness: Frontier Africa and the currency of conviviality’, <span class="source">Journal of Asian and African Studies</span>, Vol. <span class="volume">52</span>, No. <span class="issue">3</span>, pp. <span class="fpage">253</span>–<span class="lpage">270</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Nyamnjoh, F. B., 2017, ‘Incompleteness: Frontier Africa and the currency of conviviality’, Journal of Asian and African Studies, Vol. 52, No. 3, pp. 253–270.' href=https://dx.doi.org/10.1177/0021909615580867>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Nyamnjoh, F. B., 2017, ‘Incompleteness: Frontier Africa and the currency of conviviality’, Journal of Asian and African Studies, Vol. 52, No. 3, pp. 253–270.' href=https://scholar.google.com/scholar?q=Nyamnjoh,+F.+B.,+2017,+‘Incompleteness:+Frontier+Africa+and+the+currency+of+conviviality’,+Journal+of+Asian+and+African+Studies,+Vol.+52,+No.+3,+pp.+253–270.>Google Scholar</a></div></div></div><div id="REFe-r-155" aria-flowto="reference-155-content reference-155-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 155 in the content" id="reference-155-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-155-content" class="circle-list__item__grouped__content"><span class="page-marker"></span><span class="string-name"><span class="surname">Nyamnjoh</span>, <span class="given-names">F. B.</span></span>, <span class="year">2012</span>, “‘<span class="article-title">Potted plants in greenhouses’: A critical reflection on the resilience of the colonial education in Africa</span>”, <span class="source">Journal of Asian and African Studies</span>, Vol. <span class="volume">47</span>, No. <span class="issue">2</span>, pp. <span class="fpage">129</span>–<span class="lpage">154</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Potted plants in greenhouses’: A critical reflection on the resilience of the colonial education in Africa' href=https://dx.doi.org/10.1177/0021909611417240>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Potted plants in greenhouses’: A critical reflection on the resilience of the colonial education in Africa' href=https://scholar.google.com/scholar_lookup?title=Potted+plants+in+greenhouses%E2%80%99%3A+A+critical+reflection+on+the+resilience+of+the+colonial+education+in+Africa&author=Nyamnjoh+F.+B.&publication+year=2012&journal=Journal+of+Asian+and+African+Studies&volume=47&doi=10.1177%2F0021909611417240&pages=129-154>Google Scholar</a></div></div></div><div id="REFe-r-156" aria-flowto="reference-156-content reference-156-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 156 in the content" id="reference-156-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-156-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Nyamnjoh</span>, <span class="given-names">F. B.</span></span> & <span class="string-name"><span class="surname">Fokwang</span>, <span class="given-names">J.</span></span>, <span class="year">2005</span>, ‘<span class="article-title">Entertaining repression: Music and politics in postcolonial Cameroon</span>’’, <span class="source">African Affairs</span>, Vol. <span class="volume">104</span>, No. <span class="issue">415</span>, pp. <span class="fpage">251</span>–<span class="lpage">274</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Entertaining repression: Music and politics in postcolonial Cameroon' href=https://dx.doi.org/10.1093/afraf/adi007>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Entertaining repression: Music and politics in postcolonial Cameroon' href=https://scholar.google.com/scholar_lookup?title=Entertaining+repression%3A+Music+and+politics+in+postcolonial+Cameroon&author=Nyamnjoh+F.+B.&author=Fokwang+J.&publication+year=2005&journal=African+Affairs&volume=104&doi=10.1093%2Fafraf%2Fadi007&pages=251-274>Google Scholar</a></div></div></div><div id="REFe-r-157" aria-flowto="reference-157-content reference-157-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 157 in the content" id="reference-157-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-157-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Olaniyan</span>, <span class="given-names">T.</span></span>, <span class="year">2004</span>, <span class="source">Arrest the Music! Fela and His Rebel Art and Politics</span>, <span class="publisher-loc">Bloomington</span>, <span class="publisher-name">Indiana University Press</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Arrest the Music! Fela and His Rebel Art and Politics' href=https://scholar.google.com/scholar_lookup?title=Arrest+the+Music!+Fela+and+His+Rebel+Art+and+Politics&author=Olaniyan+T.&publication+year=2004>Google Scholar</a></div></div></div><div id="REFe-r-158" aria-flowto="reference-158-content reference-158-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 158 in the content" id="reference-158-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-158-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Olivier</span>, <span class="given-names">E.</span></span>, <span class="year">2020</span>, ‘<span class="article-title">Ce que la téléphonie mobile fait à la musique ouest-africaine. Le projet ZikMali: un nouveau modèle de distribution musicale?</span>’, <span class="source">Réseaux</span>, Vol. <span class="volume">1</span>, No. <span class="issue">219</span>, pp. <span class="fpage">71</span>–<span class="lpage">104</span>, <a class="uri" href="http://www.cairn.info/revue-reseaux-2020-1-page-71.htm">www.cairn.info/revue-reseaux-2020-1-page-71.htm</a>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Ce que la téléphonie mobile fait à la musique ouest-africaine. Le projet ZikMali: un nouveau modèle de distribution musicale?' href=https://dx.doi.org/10.3917/res.219.0071>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Ce que la téléphonie mobile fait à la musique ouest-africaine. Le projet ZikMali: un nouveau modèle de distribution musicale?' href=https://scholar.google.com/scholar_lookup?title=Ce+que+la+t%C3%A9l%C3%A9phonie+mobile+fait+%C3%A0+la+musique+ouest-africaine.+Le+projet+ZikMali%3A+un+nouveau+mod%C3%A8le+de+distribution+musicale%3F&author=Olivier+E.&publication+year=2020&journal=R%C3%A9seaux&volume=1&doi=10.3917%2Fres.219.0071&pages=71-104>Google Scholar</a></div></div></div><div id="REFe-r-159" aria-flowto="reference-159-content reference-159-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 159 in the content" id="reference-159-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-159-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Ouattara</span>, <span class="given-names">I.</span></span>, <span class="year">2018</span>, ‘<span class="article-title">Le griot dans la société traditionnelle africaine: Patrimoine et survivance d’une conscience d’être et de culture</span>’, <span class="source">International Journal of Latest Research in Humanities and Social Sciences (IJLRHSS)</span>, Vol. <span class="volume">01</span>, No. <span class="issue">12</span>), pp. <span class="fpage">43</span>–<span class="lpage">52</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le griot dans la société traditionnelle africaine: Patrimoine et survivance d’une conscience d’être et de culture' href=https://scholar.google.com/scholar_lookup?title=Le+griot+dans+la+soci%C3%A9t%C3%A9+traditionnelle+africaine%3A+Patrimoine+et+survivance+d%E2%80%99une+conscience+d%E2%80%99%C3%AAtre+et+de+culture&author=Ouattara+I.&publication+year=2018&journal=International+Journal+of+Latest+Research+in+Humanities+and+Social+Sciences+(IJLRHSS)&volume=01&pages=43-52>Google Scholar</a></div></div></div><div id="REFe-r-160" aria-flowto="reference-160-content reference-160-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 160 in the content" id="reference-160-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-160-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Ouattara</span>, <span class="given-names">A.</span></span>, <span class="year">1985</span>, ‘<span class="article-title">L’influence des Américains noirs sur les Ivoiriens dans la région d’Abidjan (à travers les mass-médias)</span>’, <span class="source">Kasa Bya Kasa Revue ivoirienne d’anthropologie et de sociologie <em class="italic">No.</em></span> <span class="volume">7</span>, July/August/September, pp. <span class="fpage">70</span>–<span class="lpage">97</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for L’influence des Américains noirs sur les Ivoiriens dans la région d’Abidjan (à travers les mass-médias)' href=https://scholar.google.com/scholar_lookup?title=L%E2%80%99influence+des+Am%C3%A9ricains+noirs+sur+les+Ivoiriens+dans+la+r%C3%A9gion+d%E2%80%99Abidjan+(%C3%A0+travers+les+mass-m%C3%A9dias)&author=Ouattara+A.&publication+year=1985&journal=Kasa+Bya+Kasa+Revue+ivoirienne+d%E2%80%99anthropologie+et+de+sociologie+No.&volume=7&pages=70-97>Google Scholar</a></div></div></div><div id="REFe-r-161" aria-flowto="reference-161-content reference-161-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 161 in the content" id="reference-161-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-161-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Ouattara</span>, <span class="given-names">O. J.</span></span> & <span class="string-name"><span class="surname">Lasme</span>, <span class="given-names">M. F</span></span>., <span class="year">2016</span>, ‘<span class="article-title">La musique islamique en Côte d’Ivoire: Difficultés et conditions d’émergence</span>’, <span class="source">Communication en question</span>, No. <span class="volume">6</span>, June/July, pp. <span class="fpage">22</span>–<span class="lpage">39</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La musique islamique en Côte d’Ivoire: Difficultés et conditions d’émergence' href=https://scholar.google.com/scholar_lookup?title=La+musique+islamique+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Difficult%C3%A9s+et+conditions+d%E2%80%99%C3%A9mergence&author=Ouattara+O.+J.&author=Lasme+M.+F&publication+year=2016&journal=Communication+en+question&volume=6&pages=22-39>Google Scholar</a></div></div></div><div id="REFe-r-162" aria-flowto="reference-162-content reference-162-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 162 in the content" id="reference-162-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-162-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Paillé</span>, <span class="given-names">L.</span></span>, <span class="year">2004</span>, <em class="italic">Livre: La démarche de création</em>, Trois-Rivières, ed. Le Sabord.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Paillé, L., 2004, Livre: La démarche de création, Trois-Rivières, ed. Le Sabord.' href=https://scholar.google.com/scholar?q=Paillé,+L.,+2004,+Livre:+La+démarche+de+création,+Trois-Rivières,+ed.+Le+Sabord.>Google Scholar</a></div></div></div><div id="REFe-r-163" aria-flowto="reference-163-content reference-163-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 163 in the content" id="reference-163-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-163-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Pajon</span>, <span class="given-names">L.</span></span>, <span class="year">2021</span>, ‘<span class="article-title">Il faut rendre à Manu …</span>’, <span class="source">Jeune Afrique</span>, No. <span class="volume">3096</span>, January, pp. <span class="fpage">54</span>–<span class="lpage">55</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Il faut rendre à Manu …' href=https://scholar.google.com/scholar_lookup?title=Il+faut+rendre+%C3%A0+Manu+%E2%80%A6&author=Pajon+L.&publication+year=2021&journal=Jeune+Afrique&volume=3096&pages=54-55>Google Scholar</a></div></div></div><div id="REFe-r-164" aria-flowto="reference-164-content reference-164-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 164 in the content" id="reference-164-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-164-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Passeron</span>, <span class="given-names">R.</span></span>, <span class="year">1999</span>, ‘<span class="article-title">Esthétique et poïétique</span>’, <span class="source">Filozofski vestnik</span>, <span class="volume">XX</span> <em class="italic">(2/1999 – XIVICA)</em>, pp. <span class="fpage">265</span>–<span class="lpage">276</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Esthétique et poïétique' href=https://scholar.google.com/scholar_lookup?title=Esth%C3%A9tique+et+po%C3%AF%C3%A9tique&author=Passeron+R.&publication+year=1999&journal=Filozofski+vestnik&volume=XX&pages=265-276>Google Scholar</a></div></div></div><div id="REFe-r-165" aria-flowto="reference-165-content reference-165-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 165 in the content" id="reference-165-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-165-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Paturet</span>, <span class="given-names">J.-B.</span></span>, <span class="year">2007</span>, ‘<span class="article-title">Qu’est-ce qu’un héritage? Un enjeu pour le travail social de demain</span>’, <span class="source">Empan</span>, Vol. <span class="volume">4</span>, No. <span class="issue">68</span>, pp. <span class="fpage">22</span>–<span class="lpage">27</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Qu’est-ce qu’un héritage? Un enjeu pour le travail social de demain' href=https://scholar.google.com/scholar_lookup?title=Qu%E2%80%99est-ce+qu%E2%80%99un+h%C3%A9ritage%3F+Un+enjeu+pour+le+travail+social+de+demain&author=Paturet+J.-B.&publication+year=2007&journal=Empan&volume=4&pages=22-27>Google Scholar</a></div></div></div><div id="REFe-r-166" aria-flowto="reference-166-content reference-166-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 166 in the content" id="reference-166-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-166-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Picton</span>, <span class="given-names">J.</span></span>, <span class="year">1992</span>, ‘<span class="article-title">A Tribute to William Fagg, April 28, 1914–July 10, 1992</span>’, <span class="source">African Arts</span>, Vol. <span class="volume">27</span>, No. <span class="issue">3</span>, Memorial to William Fagg (Jul., 1994), pp. 26–29, <a class="uri" href="http://www.jstor.org/stable/3337198">www.jstor.org/stable/3337198</a>; accessed 30 August 2019.<a class='ref-link' target='_blank' aria-label='Google Scholar link for A Tribute to William Fagg, April 28, 1914–July 10, 1992' href=https://scholar.google.com/scholar_lookup?title=A+Tribute+to+William+Fagg%2C+April+28%2C+1914%E2%80%93July+10%2C+1992&author=Picton+J.&publication+year=1992&journal=African+Arts&volume=27>Google Scholar</a></div></div></div><div id="REFe-r-167" aria-flowto="reference-167-content reference-167-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 167 in the content" id="reference-167-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-167-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Piermay</span>, <span class="given-names">J.-L.</span></span>, <span class="year">2003</span>, ‘<span class="article-title">L’apprentissage de la ville en Afrique sud-saharienne</span>’, <span class="source">Le mouvement social</span>, Vol. <span class="volume">3</span>, No. <span class="issue">204</span>, pp. <span class="fpage">35</span>–<span class="lpage">46</span>, <a class="uri" href="http://www.cairn.info/revue-le-mouvement-social-2003-3-page-35.htm">www.cairn.info/revue-le-mouvement-social-2003-3-page-35.htm</a>.<a class='ref-link' target='_blank' aria-label='CrossRef link for L’apprentissage de la ville en Afrique sud-saharienne' href=https://dx.doi.org/10.3917/lms.204.0035>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for L’apprentissage de la ville en Afrique sud-saharienne' href=https://scholar.google.com/scholar_lookup?title=L%E2%80%99apprentissage+de+la+ville+en+Afrique+sud-saharienne&author=Piermay+J.-L.&publication+year=2003&journal=Le+mouvement+social&volume=3&doi=10.3917%2Flms.204.0035&pages=35-46>Google Scholar</a></div></div></div><div id="REFe-r-168" aria-flowto="reference-168-content reference-168-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 168 in the content" id="reference-168-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-168-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Pierrat</span>, <span class="given-names">E.</span></span>, <span class="year">2005</span>, ‘How is copyright protected in Africa? An answer from Emmanuel Pierrat, lawyer at the Paris Bar and writer, specialising in intellectual property law’, interviewed by Ibrahima Dia, <em class="italic">Jeune Afrique</em>, 18 July, <span class="page-marker"></span><a class="uri" href="http://www.jeuneafrique.com/94652/archives-thematique/comment-est-prot-g-le-droit-d-auteur-en-afrique/">www.jeuneafrique.com/94652/archives-thematique/comment-est-prot-g-le-droit-d-auteur-en-afrique/</a>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Pierrat, E., 2005, ‘How is copyright protected in Africa? An answer from Emmanuel Pierrat, lawyer at the Paris Bar and writer, specialising in intellectual property law’, interviewed by Ibrahima Dia, Jeune Afrique, 18 July, www.jeuneafrique.com/94652/archives-thematique/comment-est-prot-g-le-droit-d-auteur-en-afrique/.' href=https://scholar.google.com/scholar?q=Pierrat,+E.,+2005,+‘How+is+copyright+protected+in+Africa?+An+answer+from+Emmanuel+Pierrat,+lawyer+at+the+Paris+Bar+and+writer,+specialising+in+intellectual+property+law’,+interviewed+by+Ibrahima+Dia,+Jeune+Afrique,+18+July,+www.jeuneafrique.com/94652/archives-thematique/comment-est-prot-g-le-droit-d-auteur-en-afrique/.>Google Scholar</a></div></div></div><div id="REFe-r-169" aria-flowto="reference-169-content reference-169-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 169 in the content" id="reference-169-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-169-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Plato</span>, </span>, <span class="year">1966</span>, <span class="source">The Republic</span>, translation and notes by R. Baccou, <span class="publisher-loc">Paris</span>, <span class="publisher-name">GF Flammarion</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for The Republic' href=https://scholar.google.com/scholar_lookup?title=The+Republic&author=Plato+&publication+year=1966>Google Scholar</a></div></div></div><div id="REFe-r-170" aria-flowto="reference-170-content reference-170-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 170 in the content" id="reference-170-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-170-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Popovitch</span>, <span class="given-names">M.</span></span>, <span class="year">1992</span>, <span class="source">Tango ya ba Wendo</span>, documentaire, couleur, 52 minutes, <span class="publisher-loc">Bruxelles, Atelier Jeunes Cinéastes Ti Suka.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Tango ya ba Wendo' href=https://scholar.google.com/scholar_lookup?title=Tango+ya+ba+Wendo&author=Popovitch+M.&publication+year=1992>Google Scholar</a></div></div></div><div id="REFe-r-171" aria-flowto="reference-171-content reference-171-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 171 in the content" id="reference-171-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-171-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Martin</span>, <span class="given-names">D.-C.</span></span>, <span class="year">2000</span>, ‘<span class="article-title">Cherchez le peuple… Culture, populaire et politique</span>’, <span class="source">Critique internationale</span>, Vol. <span class="volume">7</span>, pp. <span class="fpage">169</span>–<span class="lpage">183</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Cherchez le peuple… Culture, populaire et politique' href=https://dx.doi.org/10.3406/criti.2000.1571>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Cherchez le peuple… Culture, populaire et politique' href=https://scholar.google.com/scholar_lookup?title=Cherchez+le+peuple%E2%80%A6+Culture%2C+populaire+et+politique&author=Martin+D.-C.&publication+year=2000&journal=Critique+internationale&volume=7&doi=10.3406%2Fcriti.2000.1571&pages=169-183>Google Scholar</a></div></div></div><div id="REFe-r-172" aria-flowto="reference-172-content reference-172-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 172 in the content" id="reference-172-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-172-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Retord</span>, <span class="given-names">G.</span></span>, <span class="year">1986</span>, ‘Les premières projections cinématographiques en Côte d’Ivoire’, <span class="source">Communication Audiovisuelle,</span> No. <span class="volume">6</span>, pp. <span class="fpage">11</span>–<span class="lpage">31</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Retord, G., 1986, ‘Les premières projections cinématographiques en Côte d’Ivoire’, Communication Audiovisuelle, No. 6, pp. 11–31.' href=https://scholar.google.com/scholar?q=Retord,+G.,+1986,+‘Les+premières+projections+cinématographiques+en+Côte+d’Ivoire’,+Communication+Audiovisuelle,+No.+6,+pp.+11–31.>Google Scholar</a></div></div></div><div id="REFe-r-173" aria-flowto="reference-173-content reference-173-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 173 in the content" id="reference-173-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-173-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Ricci</span>, <span class="given-names">D.</span></span>, <span class="year">2016</span>, <span class="source">Cinémas des diasporas noires: esthétique de la reconstruction</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">L’Harmattan.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Cinémas des diasporas noires: esthétique de la reconstruction' href=https://scholar.google.com/scholar_lookup?title=Cin%C3%A9mas+des+diasporas+noires%3A+esth%C3%A9tique+de+la+reconstruction&author=Ricci+D.&publication+year=2016>Google Scholar</a></div></div></div><div id="REFe-r-174" aria-flowto="reference-174-content reference-174-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 174 in the content" id="reference-174-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-174-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Röschenthaler</span>, <span class="given-names">U.</span></span>, <span class="year">2015</span>, ‘“<span class="chapter-title">Be faster than the pirates”. Copyright and the revival of “traditional dances” in south-west Cameroon</span>’, <span class="source">Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods</span>, <span class="string-name"><span class="surname">Röschenthaler</span>, <span class="given-names">Ute</span></span> & <span class="string-name"><span class="surname">Diawarra</span>, <span class="given-names">Mamadou</span></span> (Eds.), <span class="publisher-name">Canon Pyon, Sean Kingston Publishing</span>, pp. <span class="fpage">177</span>–<span class="lpage">213</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods' href=https://scholar.google.com/scholar_lookup?title=Copyright+Africa%3A+How+Intellectual+Property%2C+Media+and+Markets+Transform+Immaterial+Cultural+Goods&author=R%C3%B6schenthaler+U.&author=R%C3%B6schenthaler+Ute&author=Diawarra+Mamadou&publication+year=2015&pages=177-213>Google Scholar</a></div></div></div><div id="REFe-r-175" aria-flowto="reference-175-content reference-175-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 175 in the content" id="reference-175-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-175-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Roskem</span>, <span class="given-names">K. J. P.</span></span>, <span class="year">2014</span>, <em class="italic">L’émergence d’une scène musicale à N’Djaména. Indentification des acteurs et des territoires</em>, doctoral thesis in information and communication sciences, Avignon, Université d’Avignon et des pays du Vaucluse.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Roskem, K. J. P., 2014, L’émergence d’une scène musicale à N’Djaména. Indentification des acteurs et des territoires, doctoral thesis in information and communication sciences, Avignon, Université d’Avignon et des pays du Vaucluse.' href=https://scholar.google.com/scholar?q=Roskem,+K.+J.+P.,+2014,+L’émergence+d’une+scène+musicale+à+N’Djaména.+Indentification+des+acteurs+et+des+territoires,+doctoral+thesis+in+information+and+communication+sciences,+Avignon,+Université+d’Avignon+et+des+pays+du+Vaucluse.>Google Scholar</a></div></div></div><div id="REFe-r-176" aria-flowto="reference-176-content reference-176-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 176 in the content" id="reference-176-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-176-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Rouch</span>, <span class="given-names">J.</span></span>, <span class="year">1967</span>, <em class="italic">Jaguar</em>, Paris, Les films de la Pléiade, 35 mm, colour, 110 min.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Rouch, J., 1967, Jaguar, Paris, Les films de la Pléiade, 35 mm, colour, 110 min.' href=https://scholar.google.com/scholar?q=Rouch,+J.,+1967,+Jaguar,+Paris,+Les+films+de+la+Pléiade,+35+mm,+colour,+110+min.>Google Scholar</a></div></div></div><div id="REFe-r-177" aria-flowto="reference-177-content reference-177-button" class="circle-list__item"> <div class="circle-list__item__indicator"></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-177-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Rouch</span>, <span class="given-names">J.</span></span>, <span class="year">1961</span>, <span class="source">La pyramide humaine</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Les films de la Pléiade</span>, 16 mm, black and white, 90 min.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La pyramide humaine' href=https://scholar.google.com/scholar_lookup?title=La+pyramide+humaine&author=Rouch+J.&publication+year=1961>Google Scholar</a></div></div></div><div id="REFe-r-178" aria-flowto="reference-178-content reference-178-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 178 in the content" id="reference-178-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-178-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Rouch</span>, <span class="given-names">J.</span></span>, <span class="year">1959</span>, <span class="source">Moi un noir</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Les films de la Pléiade</span>, 16 mm, colour, 73 min.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Moi un noir' href=https://scholar.google.com/scholar_lookup?title=Moi+un+noir&author=Rouch+J.&publication+year=1959>Google Scholar</a></div></div></div><div id="REFe-r-179" aria-flowto="reference-179-content reference-179-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 179 in the content" id="reference-179-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-179-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Rouch</span>, <span class="given-names">J.</span></span>, <span class="year">1955</span>, <span class="source">Les maîtres fous</span>, <span class="publisher-loc">Paris, Les films de la Pléiade</span>, 16 mm, color, 36 min.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les maîtres fous' href=https://scholar.google.com/scholar_lookup?title=Les+ma%C3%AEtres+fous&author=Rouch+J.&publication+year=1955>Google Scholar</a></div></div></div><div id="REFe-r-180" aria-flowto="reference-180-content reference-180-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 180 in the content" id="reference-180-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-180-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Rouzé</span>, <span class="given-names">V.</span></span>, <span class="year">2004</span>, <span class="source">Les musiques diffusées dans les lieux publics: Analyse et enjeux de pratiques communicationnelles quotidiennes</span>, Doctoral thesis in Information and Communication Sciences, <span class="publisher-loc">Saint-Denis, Université Paris VIII</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les musiques diffusées dans les lieux publics: Analyse et enjeux de pratiques communicationnelles quotidiennes' href=https://scholar.google.com/scholar_lookup?title=Les+musiques+diffus%C3%A9es+dans+les+lieux+publics%3A+Analyse+et+enjeux+de+pratiques+communicationnelles+quotidiennes&author=Rouz%C3%A9+V.&publication+year=2004>Google Scholar</a></div></div></div><div id="REFe-r-181" aria-flowto="reference-181-content reference-181-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 181 in the content" id="reference-181-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-181-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Rowlands</span>, <span class="given-names">M.</span></span>, <span class="year">2008</span>, ‘Civilization, violence and heritage healing in Liberia’, <span class="source">Journal of Material Culture</span>, Vol. <span class="volume">13</span>, No. <span class="issue">2</span>, pp. <span class="fpage">135</span>–<span class="lpage">152</span>, DOI: <a class="uri" href="https://10.1177/1359183508090900">https://10.1177/1359183508090900</a>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Rowlands, M., 2008, ‘Civilization, violence and heritage healing in Liberia’, Journal of Material Culture, Vol. 13, No. 2, pp. 135–152, DOI: https://10.1177/1359183508090900.' href=https://dx.doi.org/10.1177/1359183508090900>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Rowlands, M., 2008, ‘Civilization, violence and heritage healing in Liberia’, Journal of Material Culture, Vol. 13, No. 2, pp. 135–152, DOI: https://10.1177/1359183508090900.' href=https://scholar.google.com/scholar?q=Rowlands,+M.,+2008,+‘Civilization,+violence+and+heritage+healing+in+Liberia’,+Journal+of+Material+Culture,+Vol.+13,+No.+2,+pp.+135–152,+DOI:+https://10.1177/1359183508090900.>Google Scholar</a></div></div></div><div id="REFe-r-182" aria-flowto="reference-182-content reference-182-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 182 in the content" id="reference-182-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-182-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Rowlands</span>, <span class="given-names">M.</span></span>, <span class="year">1993</span>, ‘<span class="article-title">The role of memory in the transmission of culture</span>’, <span class="source">World Archeology</span>, Vol. <span class="volume">5</span>, No. <span class="issue">2</span>, pp. <span class="fpage">141</span>–<span class="lpage">151</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for The role of memory in the transmission of culture' href=https://dx.doi.org/10.1080/00438243.1993.9980234>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for The role of memory in the transmission of culture' href=https://scholar.google.com/scholar_lookup?title=The+role+of+memory+in+the+transmission+of+culture&author=Rowlands+M.&publication+year=1993&journal=World+Archeology&volume=5&doi=10.1080%2F00438243.1993.9980234&pages=141-151>Google Scholar</a></div></div></div><div id="REFe-r-183" aria-flowto="reference-183-content reference-183-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 183 in the content" id="reference-183-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-183-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Sadji</span>, <span class="given-names">A.</span></span>, <span class="year">1985</span>, <span class="source">Ce que dit la musique africaine</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Présence africaine</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Ce que dit la musique africaine' href=https://scholar.google.com/scholar_lookup?title=Ce+que+dit+la+musique+africaine&author=Sadji+A.&publication+year=1985>Google Scholar</a></div></div></div><div id="REFe-r-184" aria-flowto="reference-184-content reference-184-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 184 in the content" id="reference-184-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-184-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Sartre</span>, <span class="given-names">J.-P.</span></span>, <span class="year">1972</span>, <span class="source">Plaidoyer pour les intellectuels</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Gallimard</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Plaidoyer pour les intellectuels' href=https://scholar.google.com/scholar_lookup?title=Plaidoyer+pour+les+intellectuels&author=Sartre+J.-P.&publication+year=1972>Google Scholar</a></div></div></div><div id="REFe-r-185" aria-flowto="reference-185-content reference-185-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 185 in the content" id="reference-185-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-185-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Schechner</span>, <span class="given-names">R.</span></span>, <span class="year">2008</span>, <span class="source">Performance: Expérimentation et théorie du théâtre aux USA</span>, <span class="publisher-name">Montreuil-sous-Bois, Éditions Théâtrales</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Performance: Expérimentation et théorie du théâtre aux USA' href=https://scholar.google.com/scholar_lookup?title=Performance%3A+Exp%C3%A9rimentation+et+th%C3%A9orie+du+th%C3%A9%C3%A2tre+aux+USA&author=Schechner+R.&publication+year=2008>Google Scholar</a></div></div></div><div id="REFe-r-186" aria-flowto="reference-186-content reference-186-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 186 in the content" id="reference-186-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-186-content" class="circle-list__item__grouped__content"><span class="page-marker"></span><span class="string-name"><span class="surname">Schechner</span>, <span class="given-names">R.</span></span>, <span class="year">1985</span>, <span class="source">Between Theatre and Anthropology</span>, <span class="publisher-loc">Philadelphia</span>, <span class="publisher-name">University of Pennsylvania Press</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Between Theatre and Anthropology' href=https://dx.doi.org/10.9783/9780812200928>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Between Theatre and Anthropology' href=https://scholar.google.com/scholar_lookup?title=Between+Theatre+and+Anthropology&author=Schechner+R.&publication+year=1985>Google Scholar</a></div></div></div><div id="REFe-r-187" aria-flowto="reference-187-content reference-187-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 187 in the content" id="reference-187-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-187-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Schütz</span>, <span class="given-names">A.</span></span>, <span class="year">2007</span>, <span class="source">Écrits sur la musique: 1924–1956</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Editions MF</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Écrits sur la musique: 1924–1956' href=https://scholar.google.com/scholar_lookup?title=%C3%89crits+sur+la+musique%3A+1924%E2%80%931956&author=Sch%C3%BCtz+A.&publication+year=2007>Google Scholar</a></div></div></div><div id="REFe-r-188" aria-flowto="reference-188-content reference-188-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 188 in the content" id="reference-188-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-188-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Scott</span>, <span class="given-names">J. C.</span></span>, <span class="year">2009</span>, <span class="source">Domination and the Arts of Resistance: Fragments du discours subalterne</span>, <span class="publisher-loc">Paris, Éditions Amsterdam</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Domination and the Arts of Resistance: Fragments du discours subalterne' href=https://scholar.google.com/scholar_lookup?title=Domination+and+the+Arts+of+Resistance%3A+Fragments+du+discours+subalterne&author=Scott+J.+C.&publication+year=2009>Google Scholar</a></div></div></div><div id="REFe-r-189" aria-flowto="reference-189-content reference-189-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 189 in the content" id="reference-189-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-189-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Segobye</span>, <span class="given-names">A. K.</span></span>, <span class="year">2007</span>, ‘<span class="chapter-title">The gods are resting there: Challenges to the protection of heritage sites through legislation and local knowledge</span>’, in <span class="source">Indigenous Knowledge Systems and Intellectual Property in the Twenty-First Century: Perspectives from Southern Africa</span>, <span class="string-name"><span class="surname">Mazondé</span>, <span class="given-names">Isaac</span></span> and <span class="string-name"><span class="surname">Thomas</span>, <span class="given-names">Pradip</span></span> (Eds.), <span class="publisher-loc">Dakar, CODESRIA</span>, pp. <span class="fpage">78</span>–<span class="lpage">94</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Indigenous Knowledge Systems and Intellectual Property in the Twenty-First Century: Perspectives from Southern Africa' href=https://scholar.google.com/scholar_lookup?title=Indigenous+Knowledge+Systems+and+Intellectual+Property+in+the+Twenty-First+Century%3A+Perspectives+from+Southern+Africa&author=Segobye+A.+K.&author=Mazond%C3%A9+Isaac&author=Thomas+Pradip&publication+year=2007&pages=78-94>Google Scholar</a></div></div></div><div id="REFe-r-190" aria-flowto="reference-190-content reference-190-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 190 in the content" id="reference-190-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-190-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Séry</span>, <span class="given-names">B.</span></span>, <span class="year">2015</span>, <span class="source">Le Tohourou: Un chemin vers la sagesse</span>, <span class="publisher-loc">Abidjan, NEB.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Le Tohourou: Un chemin vers la sagesse' href=https://scholar.google.com/scholar_lookup?title=Le+Tohourou%3A+Un+chemin+vers+la+sagesse&author=S%C3%A9ry+B.&publication+year=2015>Google Scholar</a></div></div></div><div id="REFe-r-191" aria-flowto="reference-191-content reference-191-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 191 in the content" id="reference-191-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-191-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Tacussel</span>, <span class="given-names">P.</span></span> & <span class="string-name"><span class="surname">Renard</span>, <span class="given-names">J.-B.</span></span>, <span class="year">1998</span>, ‘<span class="chapter-title">Imaginaire et sociologie</span>’, <span class="source">Introduction aux méthodologies de l’imaginaire</span>, <span class="string-name"><span class="surname">Thomas</span>, <span class="given-names">Joël</span></span> (Ed.), <span class="publisher-loc">Paris, Ellipses</span>, pp. <span class="fpage">273</span>–<span class="lpage">280</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Introduction aux méthodologies de l’imaginaire' href=https://scholar.google.com/scholar_lookup?title=Introduction+aux+m%C3%A9thodologies+de+l%E2%80%99imaginaire&author=Tacussel+P.&author=Renard+J.-B.&author=Thomas+Jo%C3%ABl&publication+year=1998&pages=273-280>Google Scholar</a></div></div></div><div id="REFe-r-192" aria-flowto="reference-192-content reference-192-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 192 in the content" id="reference-192-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-192-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Tapé</span>, <span class="given-names">G.</span></span>, <span class="year">1986</span>, ‘<span class="chapter-title">L’art et l’artiste selon Srolou</span>’, <span class="source">La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel</span>, <span class="string-name"><span class="surname">Wondji</span>, <span class="given-names">Christophe</span></span> (Ed.), <span class="publisher-loc">Paris</span>, <span class="publisher-name">Présence Africaine</span>, pp. <span class="fpage">137</span>–<span class="lpage">157</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel' href=https://scholar.google.com/scholar_lookup?title=La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=Tap%C3%A9+G.&author=Wondji+Christophe&publication+year=1986&pages=137-157>Google Scholar</a></div></div></div><div id="REFe-r-193" aria-flowto="reference-193-content reference-193-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 193 in the content" id="reference-193-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-193-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Tapé</span>, <span class="given-names">G.</span></span>, <span class="year">1986</span>b, ‘<span class="chapter-title">L’art et l’artiste selon Srolou</span>’, <span class="source">La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel</span>, <span class="string-name"><span class="surname">Wondji</span>, <span class="given-names">Christophe</span></span> (Ed.), <span class="publisher-loc">Paris, Présence africaine</span>, pp. <span class="fpage">137</span>–<span class="lpage">157</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel' href=https://scholar.google.com/scholar_lookup?title=La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=Tap%C3%A9+G.&author=Wondji+Christophe&publication+year=1986&pages=137-157>Google Scholar</a></div></div></div><div id="REFe-r-194" aria-flowto="reference-194-content reference-194-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 194 in the content" id="reference-194-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-194-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Tesser</span>, <span class="given-names">P.</span></span>, <span class="year">2006</span>, <span class="source">Musique, identité et insertion sociale. Mangue Beat: humus culturel</span>, Thèse de Doctorat en sociologie, <span class="publisher-name">Paris, Université Paris-Descartes.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Musique, identité et insertion sociale. Mangue Beat: humus culturel' href=https://scholar.google.com/scholar_lookup?title=Musique%2C+identit%C3%A9+et+insertion+sociale.+Mangue+Beat%3A+humus+culturel&author=Tesser+P.&publication+year=2006>Google Scholar</a></div></div></div><div id="REFe-r-195" aria-flowto="reference-195-content reference-195-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 195 in the content" id="reference-195-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-195-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Thomas</span>, <span class="given-names">J.</span></span>, <span class="year">1998</span>, ‘<span class="chapter-title">Introduction</span>’, <span class="source">Introduction aux méthodologies de l’imaginaire</span>. <span class="string-name"><span class="surname">Thomas</span>, <span class="given-names">Joël</span></span> (Ed.), <span class="publisher-loc">Paris, Ellipses</span>, pp. <span class="fpage">15</span>–<span class="lpage">21</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Introduction aux méthodologies de l’imaginaire' href=https://scholar.google.com/scholar_lookup?title=Introduction+aux+m%C3%A9thodologies+de+l%E2%80%99imaginaire&author=Thomas+J.&author=Thomas+Jo%C3%ABl&publication+year=1998&pages=15-21>Google Scholar</a></div></div></div><div id="REFe-r-196" aria-flowto="reference-196-content reference-196-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 196 in the content" id="reference-196-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-196-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Thomas</span>, <span class="given-names">P.</span></span> & <span class="string-name"><span class="surname">Nyamnjoh</span>, <span class="given-names">F.</span></span>, <span class="year">2007</span>, ‘<span class="chapter-title">Intellectual property challenges in Africa: Indigenous knowledge systems and the fate of connected worlds</span>’, in <span class="source">Indigenous Knowledge Systems and Intellectual Property in the Twenty-First Century: Perspectives from Southern Africa</span>, <span class="string-name"><span class="surname">Mazonde</span>, <span class="given-names">Isaac</span></span> & <span class="string-name"><span class="surname">Thomas</span>, <span class="given-names">Pradip</span></span> (Eds.), <span class="publisher-loc">Dakar, Codesria</span>, pp. <span class="fpage">12</span>–<span class="lpage">25</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Indigenous Knowledge Systems and Intellectual Property in the Twenty-First Century: Perspectives from Southern Africa' href=https://scholar.google.com/scholar_lookup?title=Indigenous+Knowledge+Systems+and+Intellectual+Property+in+the+Twenty-First+Century%3A+Perspectives+from+Southern+Africa&author=Thomas+P.&author=Nyamnjoh+F.&author=Mazonde+Isaac&author=Thomas+Pradip&publication+year=2007&pages=12-25>Google Scholar</a></div></div></div><div id="REFe-r-197" aria-flowto="reference-197-content reference-197-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 197 in the content" id="reference-197-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-197-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Titon</span>, <span class="given-names">T. J.</span></span>, <span class="year">1992</span>, ‘<span class="chapter-title">Music, folk and traditional</span>’, in <span class="source">Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook</span>, <span class="string-name"><span class="surname">Bauman</span>, <span class="given-names">Richard</span></span> (Ed.), <span class="publisher-loc">Oxford</span>, <span class="publisher-name">Oxford University Press</span>, pp. <span class="fpage">167</span>–<span class="lpage">171</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https://dx.doi.org/10.1093/oso/9780195069198.003.0023>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https://scholar.google.com/scholar_lookup?title=Folklore%2C+Cultural+Performances%2C+and+Popular+Entertainments%3A+A+Communications-Centered+Handbook&author=Titon+T.+J.&author=Bauman+Richard&publication+year=1992&pages=167-171>Google Scholar</a></div></div></div><div id="REFe-r-198" aria-flowto="reference-198-content reference-198-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 198 in the content" id="reference-198-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-198-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Toulabor</span>, <span class="given-names">C.</span></span>, <span class="year">1993</span>, ‘<span class="article-title">Masque errant?</span>’, <span class="source">Politique africaine</span>, No. <span class="volume">51</span>, pp. <span class="fpage">3</span>–<span class="lpage">6</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Masque errant?' href=https://scholar.google.com/scholar_lookup?title=Masque+errant%3F&author=Toulabor+C.&publication+year=1993&journal=Politique+africaine&volume=51&pages=3-6>Google Scholar</a></div></div></div><div id="REFe-r-199" aria-flowto="reference-199-content reference-199-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 199 in the content" id="reference-199-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-199-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Touré</span>, <span class="given-names">A.</span></span>, <span class="year">1981</span>, <span class="source">La civilisation quotidienne en Côte d’Ivoire: Procès d’occidentalisation</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Karthala</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La civilisation quotidienne en Côte d’Ivoire: Procès d’occidentalisation' href=https://scholar.google.com/scholar_lookup?title=La+civilisation+quotidienne+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Proc%C3%A8s+d%E2%80%99occidentalisation&author=Tour%C3%A9+A.&publication+year=1981>Google Scholar</a></div></div></div><div id="REFe-r-200" aria-flowto="reference-200-content reference-200-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 200 in the content" id="reference-200-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-200-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Traoré</span>, <span class="given-names">R.</span></span>, <span class="year">1986</span>, ‘<span class="article-title">La distribution cinématographique en Côte d’Ivoire</span>’, <span class="source">Communication Audiovisuelle</span>, No. <span class="volume">6</span>, pp. <span class="fpage">195</span>–<span class="lpage">225</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La distribution cinématographique en Côte d’Ivoire' href=https://scholar.google.com/scholar_lookup?title=La+distribution+cin%C3%A9matographique+en+C%C3%B4te+d%E2%80%99Ivoire&author=Traor%C3%A9+R.&publication+year=1986&journal=Communication+Audiovisuelle&volume=6&pages=195-225>Google Scholar</a></div></div></div><div id="REFe-r-201" aria-flowto="reference-201-content reference-201-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 201 in the content" id="reference-201-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-201-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Tudesq</span>, <span class="given-names">A.-J.</span></span>, <span class="year">2002</span>, <span class="source">L’Afrique parle, l’Afrique écoute: Les radios en Afrique subsaharienne</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Karthala</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for L’Afrique parle, l’Afrique écoute: Les radios en Afrique subsaharienne' href=https://scholar.google.com/scholar_lookup?title=L%E2%80%99Afrique+parle%2C+l%E2%80%99Afrique+%C3%A9coute%3A+Les+radios+en+Afrique+subsaharienne&author=Tudesq+A.-J.&publication+year=2002>Google Scholar</a></div></div></div><div id="REFe-r-202" aria-flowto="reference-202-content reference-202-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 202 in the content" id="reference-202-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-202-content" class="circle-list__item__grouped__content"><span class="page-marker"></span><span class="string-name"><span class="surname">Tudesq</span>, <span class="given-names">A.-J.</span></span>, <span class="year">1999</span>, <span class="source">Les médias en Afrique</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Ellipses</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les médias en Afrique' href=https://scholar.google.com/scholar_lookup?title=Les+m%C3%A9dias+en+Afrique&author=Tudesq+A.-J.&publication+year=1999>Google Scholar</a></div></div></div><div id="REFe-r-203" aria-flowto="reference-203-content reference-203-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 203 in the content" id="reference-203-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-203-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Tudesq</span>, <span class="given-names">A.-J.</span></span>, <span class="year">1998</span>, <span class="source">Journaux et radios d’Afrique aux XIXe et XXe siècles</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">GRET</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Journaux et radios d’Afrique aux XIXe et XXe siècles' href=https://scholar.google.com/scholar_lookup?title=Journaux+et+radios+d%E2%80%99Afrique+aux+XIXe+et+XXe+si%C3%A8cles&author=Tudesq+A.-J.&publication+year=1998>Google Scholar</a></div></div></div><div id="REFe-r-204" aria-flowto="reference-204-content reference-204-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 204 in the content" id="reference-204-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-204-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Turner</span>, <span class="given-names">V.</span></span>, <span class="year">1988</span>, <span class="source">The Anthropology of Performance</span>, <span class="publisher-loc">New York</span>, <span class="publisher-name">PAJ Publications</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for The Anthropology of Performance' href=https://scholar.google.com/scholar_lookup?title=The+Anthropology+of+Performance&author=Turner+V.&publication+year=1988>Google Scholar</a></div></div></div><div id="REFe-r-205" aria-flowto="reference-205-content reference-205-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 205 in the content" id="reference-205-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-205-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Turner</span>, <span class="given-names">V.</span></span>, 1969[<span class="year">1997</span>], <span class="source">The Ritual Process: Structure and Anti-structure</span>, <span class="publisher-name">New Brunswick-London, Aldine Transaction</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for The Ritual Process: Structure and Anti-structure' href=https://scholar.google.com/scholar_lookup?title=The+Ritual+Process%3A+Structure+and+Anti-structure&author=Turner+V.&publication+year=1997>Google Scholar</a></div></div></div><div id="REFe-r-206" aria-flowto="reference-206-content reference-206-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 206 in the content" id="reference-206-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-206-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Van Gennep</span>, <span class="given-names">A.</span></span>, <span class="year">1909</span>[1981], <span class="source">Les rites de passage: Étude systématique des rites</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Picard</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Les rites de passage: Étude systématique des rites' href=https://scholar.google.com/scholar_lookup?title=Les+rites+de+passage%3A+%C3%89tude+syst%C3%A9matique+des+rites&author=Van+Gennep+A.&publication+year=1909>Google Scholar</a></div></div></div><div id="REFe-r-207" aria-flowto="reference-207-content reference-207-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 207 in the content" id="reference-207-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-207-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Vian</span>, <span class="given-names">B.</span></span>, <span class="year">1958</span>[1997], <span class="source">En avant la zizique</span>, <span class="publisher-loc">Paris, Le livre de poche.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for En avant la zizique' href=https://scholar.google.com/scholar_lookup?title=En+avant+la+zizique&author=Vian+B.&publication+year=1958>Google Scholar</a></div></div></div><div id="REFe-r-208" aria-flowto="reference-208-content reference-208-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 208 in the content" id="reference-208-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-208-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Vidal</span>, <span class="given-names">C.</span></span>, <span class="year">2002</span>, ‘Abidjan, ville-monde (1957–2000)’, <em class="italic">Les temps modernes</em> 2002/4–5, Nos. 620–621, pp. <span class="fpage">463</span>–<span class="lpage">479</span>.<a class='ref-link' target='_blank' aria-label='CrossRef link for Vidal, C., 2002, ‘Abidjan, ville-monde (1957–2000)’, Les temps modernes 2002/4–5, Nos. 620–621, pp. 463–479.' href=https://dx.doi.org/10.3917/ltm.620.0463>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Vidal, C., 2002, ‘Abidjan, ville-monde (1957–2000)’, Les temps modernes 2002/4–5, Nos. 620–621, pp. 463–479.' href=https://scholar.google.com/scholar?q=Vidal,+C.,+2002,+‘Abidjan,+ville-monde+(1957–2000)’,+Les+temps+modernes+2002/4–5,+Nos.+620–621,+pp.+463–479.>Google Scholar</a></div></div></div><div id="REFe-r-209" aria-flowto="reference-209-content reference-209-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 209 in the content" id="reference-209-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-209-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Vidal</span>, <span class="given-names">C.</span></span>, <span class="year">1992</span>, <span class="source">Sociologie des passions: Rwanda, Côte d’Ivoire</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Karthala</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Sociologie des passions: Rwanda, Côte d’Ivoire' href=https://scholar.google.com/scholar_lookup?title=Sociologie+des+passions%3A+Rwanda%2C+C%C3%B4te+d%E2%80%99Ivoire&author=Vidal+C.&publication+year=1992>Google Scholar</a></div></div></div><div id="REFe-r-210" aria-flowto="reference-210-content reference-210-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 210 in the content" id="reference-210-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-210-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Vergès</span>, <span class="given-names">G.</span></span>, <span class="year">2018</span>, <span class="source">Magic System: Le mystère 1<sup class="sup">er</sup> Gaou</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">Les éditions du Panthéon</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Magic System: Le mystère 1er Gaou' href=https://scholar.google.com/scholar_lookup?title=Magic+System%3A+Le+myst%C3%A8re+1er+Gaou&author=Verg%C3%A8s+G.&publication+year=2018>Google Scholar</a></div></div></div><div id="REFe-r-211" aria-flowto="reference-211-content reference-211-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 211 in the content" id="reference-211-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-211-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Warnier</span>, <span class="given-names">J.-P.</span></span>, <span class="year">2007</span>, <span class="source">La mondialisation de la culture</span>, <span class="publisher-loc">Paris</span>, <span class="publisher-name">La Découverte</span>, <span class="edition">4th</span> ed.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La mondialisation de la culture' href=https://scholar.google.com/scholar_lookup?title=La+mondialisation+de+la+culture&author=Warnier+J.-P.&publication+year=2007>Google Scholar</a></div></div></div><div id="REFe-r-212" aria-flowto="reference-212-content reference-212-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 212 in the content" id="reference-212-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-212-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Warnier</span>, <span class="given-names">J.-P.</span></span>, <span class="year">1994</span>, ‘<span class="chapter-title">Introduction: Six objets en quête d’authenticité</span>’, in <span class="source">Le paradoxe de la marchandise authentique: Imaginaire et consommation de masse</span>, <span class="string-name"><span class="surname">Warnier</span>, <span class="given-names">Jean-Pierre</span></span> (Ed.), <span class="publisher-loc">Paris, L’Harmattan</span>, pp. <span class="fpage">11</span>–<span class="lpage">34</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le paradoxe de la marchandise authentique: Imaginaire et consommation de masse' href=https://scholar.google.com/scholar_lookup?title=Le+paradoxe+de+la+marchandise+authentique%3A+Imaginaire+et+consommation+de+masse&author=Warnier+J.-P.&author=Warnier+Jean-Pierre&publication+year=1994&pages=11-34>Google Scholar</a></div></div></div><div id="REFe-r-213" aria-flowto="reference-213-content reference-213-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 213 in the content" id="reference-213-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-213-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Waterman</span>, <span class="given-names">C. A.</span></span>, <span class="year">1990</span>, ‘“Our tradition is a very modern tradition”: Popular music and the construction of Pan Yoruba identity’, <span class="source">Ethnomusicology</span>, Vol. <span class="volume">34</span>, No. <span class="issue">3</span> (autumn), pp. <span class="fpage">367</span>–<span class="lpage">379</span>, <a class="uri" href="http://www.jstor.org/stable/851623">www.jstor.org/stable/851623</a>, accessed 26/06/2014 23:42.<a class='ref-link' target='_blank' aria-label='CrossRef link for Waterman, C. A., 1990, ‘“Our tradition is a very modern tradition”: Popular music and the construction of Pan Yoruba identity’, Ethnomusicology, Vol. 34, No. 3 (autumn), pp. 367–379, www.jstor.org/stable/851623, accessed 26/06/2014 23:42.' href=https://dx.doi.org/10.2307/851623>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Waterman, C. A., 1990, ‘“Our tradition is a very modern tradition”: Popular music and the construction of Pan Yoruba identity’, Ethnomusicology, Vol. 34, No. 3 (autumn), pp. 367–379, www.jstor.org/stable/851623, accessed 26/06/2014 23:42.' href=https://scholar.google.com/scholar?q=Waterman,+C.+A.,+1990,+‘“Our+tradition+is+a+very+modern+tradition”:+Popular+music+and+the+construction+of+Pan+Yoruba+identity’,+Ethnomusicology,+Vol.+34,+No.+3+(autumn),+pp.+367–379,+www.jstor.org/stable/851623,+accessed+26/06/2014+23:42.>Google Scholar</a></div></div></div><div id="REFe-r-214" aria-flowto="reference-214-content reference-214-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 214 in the content" id="reference-214-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-214-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Weaver</span>, <span class="given-names">W.</span></span>, <span class="year">1949</span>, ‘<span class="chapter-title">Recent contributions to the mathematical theory of communication</span>’, in <span class="source">The Mathematical Theory of Communication</span>. <span class="string-name"><span class="surname">Shannon</span>, <span class="given-names">Claude</span></span> & <span class="string-name"><span class="surname">Weaver</span>, <span class="given-names">Warren</span></span> (Eds.), pp. <span class="fpage">94</span>–<span class="lpage">117</span>, <span class="publisher-name">Urbana, The University of Illinois Press.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for The Mathematical Theory of Communication' href=https://scholar.google.com/scholar_lookup?title=The+Mathematical+Theory+of+Communication&author=Weaver+W.&author=Shannon+Claude&author=Weaver+Warren&publication+year=1949&pages=94-117>Google Scholar</a></div></div></div><div id="REFe-r-215" aria-flowto="reference-215-content reference-215-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 215 in the content" id="reference-215-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-215-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Weber</span>, <span class="given-names">M.</span></span>, <span class="year">1971</span>[1995], <span class="source">Economie et société 1: Les catégories de la société</span>, <span class="publisher-name">Paris, Plon-Pocket, coll. Agora.</span><a class='ref-link' target='_blank' aria-label='Google Scholar link for Economie et société 1: Les catégories de la société' href=https://scholar.google.com/scholar_lookup?title=Economie+et+soci%C3%A9t%C3%A9+1%3A+Les+cat%C3%A9gories+de+la+soci%C3%A9t%C3%A9&author=Weber+M.&publication+year=1971>Google Scholar</a></div></div></div><div id="REFe-r-216" aria-flowto="reference-216-content reference-216-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 216 in the content" id="reference-216-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-216-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Winkin</span>, <span class="given-names">Y.</span></span>, <span class="year">2001</span>, <span class="source">Anthropologie de la communication: De la théorie au terrain</span>, <span class="publisher-name">Paris, Seuil, coll. Points Essais</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Anthropologie de la communication: De la théorie au terrain' href=https://scholar.google.com/scholar_lookup?title=Anthropologie+de+la+communication%3A+De+la+th%C3%A9orie+au+terrain&author=Winkin+Y.&publication+year=2001>Google Scholar</a></div></div></div><div id="REFe-r-217" aria-flowto="reference-217-content reference-217-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 217 in the content" id="reference-217-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-217-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Wolikow</span>, <span class="given-names">S.</span></span>, <span class="year">1998</span>, ‘<span class="article-title">L’histoire du temps présent en question</span>’, <span class="source">Territoires contemporains<em class="italic">, special</em></span> issue no. <span class="volume">5</span>, pp. <span class="fpage">9</span>–<span class="lpage">24</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for L’histoire du temps présent en question' href=https://scholar.google.com/scholar_lookup?title=L%E2%80%99histoire+du+temps+pr%C3%A9sent+en+question&author=Wolikow+S.&publication+year=1998&journal=Territoires+contemporains%2C+special&volume=5&pages=9-24>Google Scholar</a></div></div></div><div id="REFe-r-218" aria-flowto="reference-218-content reference-218-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 218 in the content" id="reference-218-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-218-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Wondji</span>, <span class="given-names">C.</span></span>, <span class="year">1986</span>a, ‘<span class="chapter-title">Chanson et culture populaire en Côte d’Ivoire</span>’, in <span class="source">La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel</span>, <span class="string-name"><span class="surname">Wondji</span>, <span class="given-names">Christophe</span></span> (Ed.), <span class="publisher-loc">Paris</span>, <span class="publisher-name">Présence Africaine</span>, pp. <span class="fpage">11</span>–<span class="lpage">24</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel' href=https://scholar.google.com/scholar_lookup?title=La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=Wondji+C.&author=Wondji+Christophe&publication+year=1986&pages=11-24>Google Scholar</a></div></div></div><div id="REFe-r-219" aria-flowto="reference-219-content reference-219-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 219 in the content" id="reference-219-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-219-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Wondji</span>, <span class="given-names">C.</span></span>, <span class="year">1986</span>b, ‘<span class="source"><em class="italic">Le bagnon et l’art’, in</em> La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel</span>, <span class="string-name"><span class="surname">Wondji</span>, <span class="given-names">Christophe</span></span> (Ed.), <span class="publisher-loc">Paris</span>, <span class="publisher-name">Présence Africaine</span>, pp. <span class="fpage">42</span>–<span class="lpage">83</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Le bagnon et l’art’, in La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel' href=https://scholar.google.com/scholar_lookup?title=Le+bagnon+et+l%E2%80%99art%E2%80%99%2C+in+La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=Wondji+C.&author=Wondji+Christophe&publication+year=1986&pages=42-83>Google Scholar</a></div></div></div><div id="REFe-r-220" aria-flowto="reference-220-content reference-220-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 220 in the content" id="reference-220-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-220-content" class="circle-list__item__grouped__content"><span class="page-marker"></span><span class="string-name"><span class="surname">Yapi Diahou</span>, <span class="given-names">A.</span></span>, <span class="year">2000</span>, <span class="source">Baraques et développement dans l’agglomération d’Abidjan</span>, <span class="publisher-loc">Paris, L’Harmattan</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Baraques et développement dans l’agglomération d’Abidjan' href=https://scholar.google.com/scholar_lookup?title=Baraques+et+d%C3%A9veloppement+dans+l%E2%80%99agglom%C3%A9ration+d%E2%80%99Abidjan&author=Yapi+Diahou+A.&publication+year=2000>Google Scholar</a></div></div></div><div id="REFe-r-221" aria-flowto="reference-221-content reference-221-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 221 in the content" id="reference-221-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-221-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Zadi</span>, <span class="given-names">Z. B.</span></span>, <span class="year">1990</span>, ‘<span class="article-title">Introduction à la connaissance de la poésie orale de Côte d’Ivoire</span>’, <span class="source">Annales de l’Université d’Abidjan: Traditions orales</span>, Vol. <span class="volume">5</span>, pp. <span class="fpage">5</span>–<span class="lpage">44</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Introduction à la connaissance de la poésie orale de Côte d’Ivoire' href=https://scholar.google.com/scholar_lookup?title=Introduction+%C3%A0+la+connaissance+de+la+po%C3%A9sie+orale+de+C%C3%B4te+d%E2%80%99Ivoire&author=Zadi+Z.+B.&publication+year=1990&journal=Annales+de+l%E2%80%99Universit%C3%A9+d%E2%80%99Abidjan%3A+Traditions+orales&volume=5&pages=5-44>Google Scholar</a></div></div></div><div id="REFe-r-222" aria-flowto="reference-222-content reference-222-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 222 in the content" id="reference-222-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-222-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Zadi</span>, <span class="given-names">Z. B.</span></span>, <span class="year">1977</span>, ‘<span class="chapter-title">Regard sur l’œuvre poétique de Nahounou Digbeu (Amédée Pierre)</span>’, <span class="source">Bissa: Revue Littéraire Orale,</span> No. <span class="volume">6</span>, <span class="publisher-loc">Abidjan, GRTO</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Bissa: Revue Littéraire Orale,' href=https://scholar.google.com/scholar_lookup?title=Bissa%3A+Revue+Litt%C3%A9raire+Orale%2C&author=Zadi+Z.+B.&publication+year=1977>Google Scholar</a></div></div></div><div id="REFe-r-223" aria-flowto="reference-223-content reference-223-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 223 in the content" id="reference-223-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-223-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Zang Zang</span>, <span class="given-names">P.</span></span>, <span class="year">2018</span>, ‘<span class="chapter-title">Du français en Afrique au(x) français d’Afrique: Quel(s) parcours?</span>’, in <span class="source">Aspects linguistiques et sociolinguistiques des français africains</span>, <span class="string-name"><span class="surname">Floquet</span>, <span class="given-names">Oreste</span></span> (Ed.), <span class="publisher-name">Roma, Sapientia Università Editrice</span>, pp. <span class="fpage">1</span>–<span class="lpage">20</span>.<a class='ref-link' target='_blank' aria-label='Google Scholar link for Aspects linguistiques et sociolinguistiques des français africains' href=https://scholar.google.com/scholar_lookup?title=Aspects+linguistiques+et+sociolinguistiques+des+fran%C3%A7ais+africains&author=Zang+Zang+P.&author=Floquet+Oreste&publication+year=2018&pages=1-20>Google Scholar</a></div></div></div><div id="REFe-r-224" aria-flowto="reference-224-content reference-224-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 224 in the content" id="reference-224-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-224-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Zeleza</span>, <span class="given-names">P. T.</span></span>, <span class="year">2005</span>, ‘The academic diaspora and knowledge production in and on Africa: What role for CODESRIA?’, in <em class="italic">African Intellectuals: Rethinking Politics, Language, Gender and Development</em>. Thandika Mkandawire (Ed.), pp. <span class="fpage">209</span>–<span class="lpage">234</span>. Dakar, CODESRIA/Zed Books.<a class='ref-link' target='_blank' aria-label='CrossRef link for Zeleza, P. T., 2005, ‘The academic diaspora and knowledge production in and on Africa: What role for CODESRIA?’, in African Intellectuals: Rethinking Politics, Language, Gender and Development. Thandika Mkandawire (Ed.), pp. 209–234. Dakar, CODESRIA/Zed Books.' href=https://dx.doi.org/10.5040/9781350218147.ch-010>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Zeleza, P. T., 2005, ‘The academic diaspora and knowledge production in and on Africa: What role for CODESRIA?’, in African Intellectuals: Rethinking Politics, Language, Gender and Development. Thandika Mkandawire (Ed.), pp. 209–234. Dakar, CODESRIA/Zed Books.' href=https://scholar.google.com/scholar?q=Zeleza,+P.+T.,+2005,+‘The+academic+diaspora+and+knowledge+production+in+and+on+Africa:+What+role+for+CODESRIA?’,+in+African+Intellectuals:+Rethinking+Politics,+Language,+Gender+and+Development.+Thandika+Mkandawire+(Ed.),+pp.+209–234.+Dakar,+CODESRIA/Zed+Books.>Google Scholar</a></div></div></div><div id="REFe-r-225" aria-flowto="reference-225-content reference-225-button" class="circle-list__item"> <div class="circle-list__item__indicator"><AppButton icon="up-circle" aria-label="Return to the reference 225 in the content" id="reference-225-button" class="circle-list__item__indicator__up"></AppButton></div> <div aria-hidden="true" data-test-hidden="true" class="circle-list__item__number"> </div> <div class="circle-list__item__grouped"><div id="reference-225-content" class="circle-list__item__grouped__content"><span class="string-name"><span class="surname">Zemp</span>, <span class="given-names">H.</span></span>, <span class="year">1971</span>[2012], <span class="source">Musique Dan: Music in the Thought and Social Life of an African Society</span>, Berlin, De Gruyter, digital reprint (<span class="publisher-loc">original</span>: <span class="publisher-name">Paris-La Haye, Mouton-EPHE</span>).<a class='ref-link' target='_blank' aria-label='CrossRef link for Musique Dan: Music in the Thought and Social Life of an African Society' href=https://dx.doi.org/10.1515/9783110800210>CrossRef</a><a class='ref-link' target='_blank' aria-label='Google Scholar link for Musique Dan: Music in the Thought and Social Life of an African Society' href=https://scholar.google.com/scholar_lookup?title=Musique+Dan%3A+Music+in+the+Thought+and+Social+Life+of+an+African+Society&author=Zemp+H.&publication+year=1971>Google Scholar</a></div></div></div></div></div> </div></div>  <div id="metrics-tab" class="metrics tab-pane" data-v-c41a0c86><div class="app-loader" data-v-c41a0c86></div></div></div></div> </div> <div role="complementary" aria-label="related contents" class="column__main__right" data-v-9124f604><div class="access-block row access-status" data-v-5fad35b8 data-v-9124f604><span class="has-access" data-v-5fad35b8><img src="data:image/svg+xml;base64,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" alt="" class="app-icon access" data-v-d2c09870 data-v-5fad35b8> <span class="sr-only" data-v-5fad35b8>You have </span> Access </span> </div> <hr aria-hidden="true" class="separator white" data-v-7036083a data-v-9124f604> <div class="element-free-access" data-v-454b86be data-v-9124f604><span class="element-free-access__text" data-v-454b86be>This Element is free online from 26th November 2024 - 24th December 2024</span></div> <hr aria-hidden="true" class="separator white" data-v-7036083a data-v-9124f604>  </div></div></div></div></div> <div id="cited-by-modal" role="dialog" aria-labelledby="Cited by modal" aria-hidden="true" class="modal fade" data-v-014d05be data-v-9124f604><div class="modal-dialog modal-xl cited-by-modal" data-v-014d05be><div tabindex="-1" class="modal-content" data-v-014d05be><div class="modal-header" data-v-014d05be><h1 class="modal-header__heading" data-v-014d05be>Cited by</h1></div> <div class="modal-body" data-v-014d05be><div class="modal-body__loader" data-v-014d05be><div class="modal-body__loader__spinner" data-v-014d05be></div> <p class="modal-body__loader__message" data-v-014d05be>Loading...</p></div></div> <button aria-label="Close Cited by" aria-expanded="false" data-dismiss="modal" class="app-button cited-by-modal__button--close app-button__icon app-button--" data-v-2a038744 data-v-014d05be><img src="data:image/svg+xml;base64,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" alt="" class="app-icon icon close-modal" data-v-d2c09870 data-v-2a038744> </button></div></div></div></div></div></div></div><script>window.__NUXT__=(function(a,b,c,d,e,f,g,h,i,j,k,l,m,n,o,p,q,r,s,t,u,v,w,x,y,z,A,B,C,D,E,F,G,H,I,J,K,L,M,N,O,P,Q,R,S,T,U,V,W,X,Y,Z,_,$,aa,ab,ac,ad,ae,af,ag,ah,ai,aj,ak,al,am,an,ao,ap,aq,ar,as,at,au,av,aw,ax,ay,az,aA,aB,aC,aD,aE,aF,aG,aH,aI,aJ,aK,aL,aM,aN,aO,aP,aQ,aR,aS,aT,aU,aV,aW,aX,aY,aZ,a_,a$,ba,bb,bc,bd,be,bf,bg,bh,bi,bj,bk,bl,bm,bn,bo,bp,bq,br,bs,bt,bu,bv,bw,bx,by,bz,bA,bB,bC,bD,bE,bF,bG,bH,bI,bJ,bK,bL,bM,bN,bO,bP,bQ,bR,bS,bT,bU,bV,bW,bX,bY,bZ,b_,b$,ca,cb,cc,cd,ce,cf,cg,ch,ci,cj,ck,cl,cm,cn,co,cp,cq,cr,cs,ct,cu,cv,cw,cx,cy,cz,cA,cB,cC,cD,cE,cF,cG,cH,cI,cJ,cK,cL,cM,cN,cO,cP,cQ,cR,cS,cT,cU,cV,cW,cX,cY,cZ,c_,c$,da,db,dc,dd,de,df,dg,dh,di,dj,dk,dl,dm,dn,do0,dp,dq,dr,ds,dt,du,dv,dw,dx,dy,dz,dA,dB,dC,dD,dE,dF,dG,dH,dI,dJ,dK,dL,dM,dN,dO,dP,dQ,dR,dS,dT,dU,dV,dW,dX,dY,dZ,d_,d$,ea,eb,ec,ed,ee,ef,eg,eh,ei,ej,ek,el,em,en,eo,ep,eq,er,es,et,eu,ev,ew,ex,ey,ez,eA,eB,eC,eD,eE,eF,eG,eH,eI,eJ,eK,eL,eM,eN,eO,eP,eQ,eR,eS,eT,eU,eV,eW,eX,eY,eZ,e_,e$,fa,fb,fc,fd,fe,ff,fg,fh,fi,fj,fk,fl,fm,fn,fo,fp,fq,fr,fs,ft,fu,fv,fw,fx,fy,fz,fA,fB,fC,fD,fE,fF,fG,fH,fI,fJ,fK,fL,fM,fN,fO,fP,fQ,fR,fS,fT,fU,fV,fW,fX,fY,fZ,f_,f$,ga,gb,gc,gd,ge,gf,gg,gh){return {layout:"default",data:[{element:{id:"E8A1EAEE4FB07A976F3F5BA276E6339C",metadata:{bookTitleCode:"608061",title:ac,subtitle:c,cover:"https:\u002F\u002Fassets.cambridge.org\u002F97810094\u002F69180\u002Fcover\u002F9781009469180.jpg",doi:{url:"https:\u002F\u002Fdoi.org\u002F10.1017\u002F9781009469159",value:"10.1017\u002F9781009469159"},eisbn:"9781009469159",publishedBy:dk,authorsGroup:{authors:{contributors:[{givenNames:"Aghi",surname:"Bahi",nameStyle:a,affiliations:[{text:"Université Félix Houphouët-Boigny",email:c}],isCorresponding:e,notes:c,isAnonymous:e,fullName:"Aghi Bahi",searchUrl:"\u002Fcore\u002Fsearch?filters%5BauthorTerms%5D=Aghi%20Bahi&eventCode=SE-AU",orcidUrl:c}]},editors:{contributors:[],label:"Edited by"}},collections:[],freeAccessDateRangeInfo:"This Element is free online from 26th November 2024 - 24th December 2024",creativeCommons:c},publishedMetadata:{keywords:[{url:"\u002Fcore\u002Fsearch?filters[keywords]=heritage",name:"heritage"},{url:"\u002Fcore\u002Fsearch?filters[keywords]=modernity",name:"modernity"},{url:"\u002Fcore\u002Fsearch?filters[keywords]=popular music",name:"popular music"},{url:"\u002Fcore\u002Fsearch?filters[keywords]=traditions",name:"traditions"},{url:"\u002Fcore\u002Fsearch?filters[keywords]=popular culture",name:"popular culture"}],onlinePublishDate:"2024-11-26T00:05:14.322Z",printPublishDate:"2024-12-12T00:00:00.000Z",copyright:c},forthcommingMetadata:c,content:{html:"\u003Cdiv class=\"html-view\"\u003E\u003Carticle class=\"book elements BITS\"\u003E\u003Cdiv class=\"book-body\"\u003E\u003Cdiv class=\"book-part chapter\" id=\"CT-bp-1\" data-magellan-destination=\"CT-bp-1\"\u003E\u003Cdiv class=\"body\"\u003E\u003Cdiv class=\"sec\" id=\"A-sec-3\" data-magellan-destination=\"A-sec-3\"\u003E\u003Cdiv class=\"disp-quote epigraph\"\u003E\u003Cp class=\"p\"\u003E‘The strength of the baobab lies in its roots.’\u003C\u002Fp\u003E\u003Cdiv class=\"attrib\"\u003E– An African proverb\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"A-sec-4\" data-magellan-destination=\"A-sec-4\"\u003E\u003Ch3 class=\"A title\"\u003E Introduction \u003C\u002Fh3\u003E\u003Cp class=\"p\"\u003EIn this Element, the question of heritage is explored from the vantage point of popular music in Côte d’Ivoire and, by extension or extrapolation, in Africa (see the following section). Côte d’Ivoire serves as a case study for a more productive approach to the question of heritage. The idea is simple: true African heritage is less a matter of \u003Cem class=\"italic\"\u003Egroove\u003C\u002Fem\u003E than of popular intellectuality. This is where the authentic heritage of musical art in motion lies.\u003C\u002Fp\u003E\u003Cdiv class=\"sec\" id=\"B-sec-1\" data-magellan-destination=\"B-sec-1\"\u003E\u003Ch4 class=\"B title\"\u003E Popular Music and Heritage \u003C\u002Fh4\u003E\u003Cp class=\"p\"\u003EInheritance, here understood as what we have from predecessors, previous generations, and ancestors, in terms of character, ideology and so on (Larousse), implies ‘cultural heritage’ and appears as a synonym for ‘tradition’. It then refers to (i) the set of legends, facts, doctrines, opinions, customs, usages and so on, transmitted orally over a long period of time; (ii) the ways of acting or thinking transmitted for generations within a group – denoted by the synonyms custom, practice, rite or usage. The concept of heritage is controversial, and what constitutes it is often contentious because of a reductive, Eurocentric legacy focused on the materiality that dominates thinking (Segobye \u003Ca class=\"xref bibr\" href=\"#REFe-r-189\" data-sectionId=\"#REFe-r-189\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Segobye, Mazondé and Thomas\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:79). Legacy can relate to both the tangible and the intangible, including ‘intangible things such as ideas, or systems of knowledge’ held and transmitted by various means from generation to generation, and in particular popular music.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn Africa, popular music is a kind of ‘unifying syncretic framework’ (Waterman \u003Ca class=\"xref bibr\" href=\"#REFe-r-213\" data-sectionId=\"#REFe-r-213\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Waterman\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E:376) that refers both to ‘traditional’, ‘ethnic’, ‘people’s’ music, as well as to musical forms that are enjoyed or consumed by the population (Agawu \u003Ca class=\"xref bibr\" href=\"#REFe-r-003\" data-sectionId=\"#REFe-r-003\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Agawu\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E). The term popular refers to the realm of the culture of the oppressed and excluded classes (Hall \u003Ca class=\"xref bibr\" href=\"#REFe-r-095\" data-sectionId=\"#REFe-r-095\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Hall and Cervulle\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:77). In the field of arts and culture, specifically music, the notion of ‘popular’ is very broad, complex and rich, covering endogenous forms that continue to circulate but are not always visible. The field of popular music is broader than that restricted by the dominant conception of market exploitation. The dominant, even hegemonic idea of popular music is defined in dichotomous (or even contradictory) terms with respect to the music of the cultivated and\u002For westernised elite. Ivorian popular music has a relatively long history, and today’s musicians are its heirs. The current world of ‘postmodernity’ (which thinks of itself as its own origin), with its linear conception of time, denies heritage (Paturet \u003Ca class=\"xref bibr\" href=\"#REFe-r-165\" data-sectionId=\"#REFe-r-165\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Paturet\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E; Lyotard \u003Ca class=\"xref bibr\" href=\"#REFe-r-127\" data-sectionId=\"#REFe-r-127\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Lyotard\u003C\u002Fspan\u003E1979\u003C\u002Fa\u003E), as if the past were inevitably doomed to archaicness or tradition to immobility.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EThe global circulation of contemporary modern music (in all its forms) is such that it can be considered ‘stateless’ (Warnier \u003Ca class=\"xref bibr\" href=\"#REFe-r-211\" data-sectionId=\"#REFe-r-211\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Warnier\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:3). It is therefore very difficult to locate modern popular music within the confines of the nation-state. However, the term is retained for practical reasons of feasibility. Moreover, music, like the cultures in which it is embedded, is ‘singular, extraordinarily diverse and localised’ (Warnier \u003Ca class=\"xref bibr\" href=\"#REFe-r-211\" data-sectionId=\"#REFe-r-211\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Warnier\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:7). ‘Popular’ music is (therefore) (already) a mixture of diverse traditions and logics that remains open to continual enrichment. Today’s dominant popular music is (therefore) only a reduced aspect of the ontological reality of popular music. The conception of modern popular music used in our approach and referred to here is a much more ‘complete’ version than the dominant (and hegemonic) one. Rather, it is understood as a version at the intersection of the popular (as defined earlier) and the market (Waterman \u003Ca class=\"xref bibr\" href=\"#REFe-r-213\" data-sectionId=\"#REFe-r-213\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Waterman\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EPopular music in Côte d’Ivoire is the subject of growing interest, but scientific production is having difficulty meeting the demand for knowledge in this fast-moving field. Some works, which tend to be journalistic, provide testimonial data on musicians and performance venues, offer anecdotes and confidences from artists, and shed light on their civic and political commitments in the light of their personal histories (Briard \u003Ca class=\"xref bibr\" href=\"#REFe-r-045\" data-sectionId=\"#REFe-r-045\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Briard\u003C\u002Fspan\u003E2008\u003C\u002Fa\u003E; Babi \u003Ca class=\"xref bibr\" href=\"#REFe-r-013\" data-sectionId=\"#REFe-r-013\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Babi\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E; Koffi et al. \u003Ca class=\"xref bibr\" href=\"#REFe-r-108\" data-sectionId=\"#REFe-r-108\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Koffi, Kipré and N’Ko\u003C\u002Fspan\u003E2022\u003C\u002Fa\u003E). The dominant trend in scholarly works is to focus on one genre (or even one style) or on one artist embodying one genre or another, while at the same time paying homage to these icons of urban popular music. Specific works – on Dan music (Zemp \u003Ca class=\"xref bibr\" href=\"#REFe-r-225\" data-sectionId=\"#REFe-r-225\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Zemp\u003C\u002Fspan\u003E1971[2012]\u003C\u002Fa\u003E), the \u003Cem class=\"italic\"\u003Etohourou bété\u003C\u002Fem\u003E (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-219\" data-sectionId=\"#REFe-r-219\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986b\u003C\u002Fa\u003E; Séry \u003Ca class=\"xref bibr\" href=\"#REFe-r-190\" data-sectionId=\"#REFe-r-190\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Séry\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E) or the didactics of music teaching (Goran \u003Ca class=\"xref bibr\" href=\"#REFe-r-091\" data-sectionId=\"#REFe-r-091\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Goran\u003C\u002Fspan\u003E2011\u003C\u002Fa\u003E) – do exist and act as pioneers.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EHowever, the strong tendency towards sectorisation and disciplinary watertightness means that most of the exegeses of the songs are contextualised as an introduction to the political sociology and recent history of Côte d’Ivoire. \u003Cem class=\"italic\"\u003EReggae\u003C\u002Fem\u003E, for example, through its most prominent West African figures, Alpha Blondy and Tiken Jah Fakoly, has been approached from the point of view of the thoughts they convey and the effects these have on the future of the country and even the continent (Konaté \u003Ca class=\"xref bibr\" href=\"#REFe-r-111\" data-sectionId=\"#REFe-r-111\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Konaté\u003C\u002Fspan\u003E1987\u003C\u002Fa\u003E; Briard \u003Ca class=\"xref bibr\" href=\"#REFe-r-045\" data-sectionId=\"#REFe-r-045\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Briard\u003C\u002Fspan\u003E2008\u003C\u002Fa\u003E; Brou \u003Ca class=\"xref bibr\" href=\"#REFe-r-046\" data-sectionId=\"#REFe-r-046\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Brou\u003C\u002Fspan\u003E2018a\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-047\" data-sectionId=\"#REFe-r-047\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Brou\u003C\u002Fspan\u003E2018b\u003C\u002Fa\u003E; Koffi et al. \u003Ca class=\"xref bibr\" href=\"#REFe-r-108\" data-sectionId=\"#REFe-r-108\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Koffi, Kipré and N’Ko\u003C\u002Fspan\u003E2022\u003C\u002Fa\u003E). The \u003Cem class=\"italic\"\u003Ezouglou\u003C\u002Fem\u003E musical genre, the visible face of social and political demands, has been the subject of a multi-biographical approach to the famous group Magic System (Vergès \u003Ca class=\"xref bibr\" href=\"#REFe-r-210\" data-sectionId=\"#REFe-r-210\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Vergès\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E), or, with the Yodé and Siro affair, from the angle of its tumultuous relationship with political power (Bahi \u003Ca class=\"xref bibr\" href=\"#REFe-r-015\" data-sectionId=\"#REFe-r-015\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bahi\u003C\u002Fspan\u003E2021\u003C\u002Fa\u003E; Kadi \u003Ca class=\"xref bibr\" href=\"#REFe-r-102\" data-sectionId=\"#REFe-r-102\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kadi\u003C\u002Fspan\u003E2021\u003C\u002Fa\u003E). The analysis of the rise of the \u003Cem class=\"italic\"\u003Ecoupé décalé\u003C\u002Fem\u003E, an urban music genre characteristic of the 2000s (Kolé \u003Ca class=\"xref bibr\" href=\"#REFe-r-109\" data-sectionId=\"#REFe-r-109\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kolé\u003C\u002Fspan\u003E2023\u003C\u002Fa\u003E), focuses in particular on Douk Saga and DJ Arafat, emblematic figures of the genre (Boka \u003Ca class=\"xref bibr\" href=\"#REFe-r-039\" data-sectionId=\"#REFe-r-039\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Boka\u003C\u002Fspan\u003E2013\u003C\u002Fa\u003E; Guébo \u003Ca class=\"xref bibr\" href=\"#REFe-r-094\" data-sectionId=\"#REFe-r-094\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Guébo\u003C\u002Fspan\u003E2022\u003C\u002Fa\u003E). The introduction of \u003Cem class=\"italic\"\u003Epop music\u003C\u002Fem\u003E in Côte d’Ivoire, its reception and the development of \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Eits local variant complete the panorama (Djédjé \u003Ca class=\"xref bibr\" href=\"#REFe-r-064\" data-sectionId=\"#REFe-r-064\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Djédjé\u003C\u002Fspan\u003E2020\u003C\u002Fa\u003E). Most of the time, therefore, these local works focus on a particular musical genre (or style), or a particular artist (modern or traditional), from a certain period or currently in vogue, creating magnifying glass effects and ipso facto obliterating the possibility of a global grasp of the phenomenon.\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"B-sec-2\" data-magellan-destination=\"B-sec-2\"\u003E\u003Ch4 class=\"B title\"\u003E Heritage at Risk? \u003C\u002Fh4\u003E\u003Cp class=\"p\"\u003EMore general work was begun in the 1980s (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-219\" data-sectionId=\"#REFe-r-219\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986b\u003C\u002Fa\u003E; Konaté \u003Ca class=\"xref bibr\" href=\"#REFe-r-111\" data-sectionId=\"#REFe-r-111\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Konaté\u003C\u002Fspan\u003E1987\u003C\u002Fa\u003E). They approach the various genres (and styles) of Ivorian popular music in the same phenomenal way. The issues of immediate sociopolitical change in Côte d’Ivoire, closely linked to the armed rebellion of \u003Ca class=\"xref bibr\" href=\"#REFe-r-110\" data-sectionId=\"#REFe-r-110\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Konaté\u003C\u002Fspan\u003E2002\u003C\u002Fa\u003E and the electoral crisis of 2010 that led to the tragic events we know about (Fié Doh \u003Ca class=\"xref bibr\" href=\"#REFe-r-076\" data-sectionId=\"#REFe-r-076\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Fié Doh\u003C\u002Fspan\u003E2012\u003C\u002Fa\u003E), are bringing popular music into conversation with political ‘conscientisation’ (Bahi \u003Ca class=\"xref bibr\" href=\"#REFe-r-015\" data-sectionId=\"#REFe-r-015\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bahi\u003C\u002Fspan\u003E2021\u003C\u002Fa\u003E). The question of cultural heritage and the mutations of popular music timidly appears from the angle of the impending disappearance of the \u003Cem class=\"italic\"\u003Etohourou\u003C\u002Fem\u003E genre under the impact of Western culture (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-219\" data-sectionId=\"#REFe-r-219\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986b\u003C\u002Fa\u003E; Séry \u003Ca class=\"xref bibr\" href=\"#REFe-r-190\" data-sectionId=\"#REFe-r-190\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Séry\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E). Inheritance\u002Fheritage is treated from the perspective of destruction, if not imminent then at least imminent in line with the spirit animating certain literary and ethnological studies of the twentieth century, and with a conservatory aim, clinging to a melancholy reminiscence of the past (Wondji 1986a, 1986b; Babi \u003Ca class=\"xref bibr\" href=\"#REFe-r-013\" data-sectionId=\"#REFe-r-013\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Babi\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E; Séry \u003Ca class=\"xref bibr\" href=\"#REFe-r-190\" data-sectionId=\"#REFe-r-190\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Séry\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E). In the background, culture, conceived as a fixed entity, is under attack from Western culture and is in danger of disappearing.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EInheritance seems commonly (implicitly) conceived as an anonymous thing of the past or even of tradition, relatively stationary, transmissible to its legitimate heirs without alteration or modification, thus inducing a relatively rigid posture (e.g. Kebede \u003Ca class=\"xref bibr\" href=\"#REFe-r-104\" data-sectionId=\"#REFe-r-104\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kebede\u003C\u002Fspan\u003E1982\u003C\u002Fa\u003E; Olaniyan \u003Ca class=\"xref bibr\" href=\"#REFe-r-157\" data-sectionId=\"#REFe-r-157\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Olaniyan\u003C\u002Fspan\u003E2004\u003C\u002Fa\u003E; Agawu \u003Ca class=\"xref bibr\" href=\"#REFe-r-003\" data-sectionId=\"#REFe-r-003\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Agawu\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E). The question of inheritance is linked to those of heritage preservation, (cultural) identity and authenticity\u002Foriginality. African composers, in a process of innovation attempting to set themselves apart from Western or Euro-American artistic flows, use ‘the materials of their indigenous musical traditions’ and would give priority ‘to the propagation and enhancement of its heritage rather than to musical originality’ (Kebede \u003Ca class=\"xref bibr\" href=\"#REFe-r-104\" data-sectionId=\"#REFe-r-104\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kebede\u003C\u002Fspan\u003E1982\u003C\u002Fa\u003E:118).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe preservation of an artistic heritage cannot be reduced to its stereotypical reproduction (Waterman \u003Ca class=\"xref bibr\" href=\"#REFe-r-213\" data-sectionId=\"#REFe-r-213\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Waterman\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E:377). The use of ‘traditional’ musical instruments cannot in itself establish the authenticity of a musical work. ‘Authentic’ music does not reside exclusively in Indigenous forms. Heritage can be manipulated according to whether the conception of identity is narrow or broad, closed or open. Authenticity, which is always relative, limited and dependent on the outside world, ultimately translates into a ‘cosmopolitan \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Enativism’ (Olaniyan \u003Ca class=\"xref bibr\" href=\"#REFe-r-157\" data-sectionId=\"#REFe-r-157\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Olaniyan\u003C\u002Fspan\u003E2004\u003C\u002Fa\u003E), which is not folded into an Indigenous ancestrality, but is open to intentional and egalitarian hybridisation. In resistance to domination, it also appears as ‘a powerful stimulant and rallying cry [for identity]’ (Olaniyan \u003Ca class=\"xref bibr\" href=\"#REFe-r-157\" data-sectionId=\"#REFe-r-157\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Olaniyan\u003C\u002Fspan\u003E2004\u003C\u002Fa\u003E:165). The African ‘past’ and its traditions, the ancestral heritage, thus appear to be both a site of polemic and a source of replenishment, ‘a potential capital for improvement’ (Olaniyan \u003Ca class=\"xref bibr\" href=\"#REFe-r-157\" data-sectionId=\"#REFe-r-157\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Olaniyan\u003C\u002Fspan\u003E2004\u003C\u002Fa\u003E:158–159). The African composer’s artistic heritage is said to have three origins: (i) the various Indigenous traditions, including rumba and its offshoots; (ii) Europe, distilled through religious and military music; and (iii) the Western avant-garde (Agawu \u003Ca class=\"xref bibr\" href=\"#REFe-r-003\" data-sectionId=\"#REFe-r-003\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Agawu\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EModern popular music, in its marketing version, ‘absorbs’ the ‘traditional’ (or so-called traditional music), the ‘ethnic’, and claims its originality on this basis, in order to gain visibility and an audience. So it is not a question of relying on a divide between ‘elite music’ and ‘popular music’, or on a ‘rupture’ between ‘traditional’ and ‘modern’, but rather on grasping the places of exchange and conversation, of complementarity between these polarities (Waterman \u003Ca class=\"xref bibr\" href=\"#REFe-r-213\" data-sectionId=\"#REFe-r-213\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Waterman\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E; Olaniyan \u003Ca class=\"xref bibr\" href=\"#REFe-r-157\" data-sectionId=\"#REFe-r-157\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Olaniyan\u003C\u002Fspan\u003E2004\u003C\u002Fa\u003E). How can we understand and show how musics enrich each other? How does modern popular music draw on this fund (which itself is not static)? How, in return, does ‘traditional’ (‘ethnic’) music ‘survive’, change and adapt to the new situation?\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"B-sec-3\" data-magellan-destination=\"B-sec-3\"\u003E\u003Ch4 class=\"B title\"\u003E Rethinking Heritage \u003C\u002Fh4\u003E\u003Cp class=\"p\"\u003EBeyond the relatively rigid posture of an immutable past (Kebede \u003Ca class=\"xref bibr\" href=\"#REFe-r-104\" data-sectionId=\"#REFe-r-104\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kebede\u003C\u002Fspan\u003E1982\u003C\u002Fa\u003E; Agawu \u003Ca class=\"xref bibr\" href=\"#REFe-r-003\" data-sectionId=\"#REFe-r-003\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Agawu\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E), we can in fact, more productively, think of heritage in a more dynamic and fertile conception. This question of heritage can be approached by attempting to articulate historical, ethnographic and anthropological approaches under the influence of (British) \u003Cem class=\"italic\"\u003Ecultural studies\u003C\u002Fem\u003E, while benefiting from the renewal of musicology (e.g. Waterman \u003Ca class=\"xref bibr\" href=\"#REFe-r-213\" data-sectionId=\"#REFe-r-213\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Waterman\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E; Olaniyan \u003Ca class=\"xref bibr\" href=\"#REFe-r-157\" data-sectionId=\"#REFe-r-157\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Olaniyan\u003C\u002Fspan\u003E2004\u003C\u002Fa\u003E; Agawu \u003Ca class=\"xref bibr\" href=\"#REFe-r-003\" data-sectionId=\"#REFe-r-003\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Agawu\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E). In fact, traditional and modern are part of a relationship of continuity and are intertwined (Waterman \u003Ca class=\"xref bibr\" href=\"#REFe-r-213\" data-sectionId=\"#REFe-r-213\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Waterman\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E:368). Artistic and musical creation does not happen ex nihilo. It is necessarily engaged in inter-musical relations, particularly with precursors, ‘whether in affirmation or dissent, actively or passively, consciously or unconsciously’ (Agawu \u003Ca class=\"xref bibr\" href=\"#REFe-r-003\" data-sectionId=\"#REFe-r-003\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Agawu\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E:315). Fundamentally, the musical composer, in exercising his artistic freedom of thought, navigates between aesthetic canons to be respected and transgressions – an exercise in unstable equilibrium without which musical art ultimately does not exist and thanks to which the unexpected happens.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EHeritage is seen as a constantly evolving reality, informed by a multitude of encounters, both local and global. It is constantly negotiated in the present and \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Ein the future. Its ethnographic present is part of a kind of ongoing past. The heritage is not (un)past, it is not in rupture. By freeing ourselves from a linear conception of time, we can say: ‘Inheritance comes to us from the depths of our future’ (Paturet \u003Ca class=\"xref bibr\" href=\"#REFe-r-165\" data-sectionId=\"#REFe-r-165\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Paturet\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:25), because the heirs also have the task of giving consistency to the outline that has been passed on to them, of taking charge of the inheritance and extending the gesture: ‘Inheriting is therefore not about “breaking away” from the “past”, but on the contrary about “becoming part of the chain of history” and “taking charge” of the values transmitted, by constituting oneself as the inventor or creator’ (Paturet \u003Ca class=\"xref bibr\" href=\"#REFe-r-165\" data-sectionId=\"#REFe-r-165\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Paturet\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:26).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EHeritage does not obstruct the possibility of invention or innovation, quite the contrary. Rather than a radical break between ‘traditional’ music and modern popular music, I defend the thesis of a cultural heritage inscribed in a continuity between these two artistic expressions: modern popular music is closely linked to the ‘traditional’ heritage (immaterial and material) of which the artist-musicians have a sort of usufruct. There is a continuity from ‘traditional music’ to modern popular music, which is certainly a legacy. Music is also part of the intangible heritage (Rowlands \u003Ca class=\"xref bibr\" href=\"#REFe-r-181\" data-sectionId=\"#REFe-r-181\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rowlands\u003C\u002Fspan\u003E2008\u003C\u002Fa\u003E) and even of the ‘places’ of sound memory (Agawu \u003Ca class=\"xref bibr\" href=\"#REFe-r-003\" data-sectionId=\"#REFe-r-003\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Agawu\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E:4). The past lives in the present, says Maurice Godelier (\u003Ca class=\"xref bibr\" href=\"#REFe-r-086\" data-sectionId=\"#REFe-r-086\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Godelier\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E). It could even be said that the present draws on the past to innovate … The past is therefore not a subject of ‘archaism’ but rather a place of resourcing (Waterman \u003Ca class=\"xref bibr\" href=\"#REFe-r-213\" data-sectionId=\"#REFe-r-213\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Waterman\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EInheritance is not frozen in time. It is activated, deactivated and reactivated at the whim of the creative imagination. This imagination also follows the paths of cannibalism. The practice of cannibalism is an insidious part of everyday life and social processes (Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-153\" data-sectionId=\"#REFe-r-153\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh and Francis\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E:5). The human being, fundamentally incomplete, is inscribed in relationships of cannibalistic reciprocity with the other (Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-153\" data-sectionId=\"#REFe-r-153\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh and Francis\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E). The creative imagination, in order to innovate and\u002For be authentic, original, and so on, can take the form of ‘a productive, invigorating and crucial form of cannibalism’ (Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-153\" data-sectionId=\"#REFe-r-153\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh and Francis\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E:10). This artistic-musical cannibalism is reflected in the various cover versions, remixes, and so on, that have been made. The ‘tradi-moderne’, a form of cannibalisation of the ‘traditional’, represents this continuity between the traditional and the modern while cornering its market. The question of musical heritage is also linked to that of copyright in ‘traditional’ musical heritage or materials derived from traditional musical heritage (Barber \u003Ca class=\"xref bibr\" href=\"#REFe-r-027\" data-sectionId=\"#REFe-r-027\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Barber, Röschenthaler and Diawarra\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E). The problem of the use of traditional materials in popular (or learned) musical compositions is becoming increasingly acute.\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"B-sec-4\" data-magellan-destination=\"B-sec-4\"\u003E\u003Ch4 class=\"B title\"\u003E The Authentic Place of Heritage \u003C\u002Fh4\u003E\u003Cp class=\"p\"\u003EThe heritage lies as much in the (popular) intellectuality conveyed by the music as in the traditional materials that can be freely plundered. The often paradoxical \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Epopular intellectuality of musical artists is symptomatic of the aporias of the post-colonial African state and of cultural production in post-coloniality. This produces a complex subject, subject to an exotic (imported), inauthentic, accessory or optional symbolic economy, generally perceived as subornation, limiting our autonomy (Olaniyan \u003Ca class=\"xref bibr\" href=\"#REFe-r-157\" data-sectionId=\"#REFe-r-157\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Olaniyan\u003C\u002Fspan\u003E2004\u003C\u002Fa\u003E:165). But by revisiting (and recycling) these traditional materials, a genuine source of originality, modern popular music reveals, preserves and (re)brings to life the musical heritage in cannibalistic fashion. In the artistic and musical world, the custodians of vulnerable tradition are being cannibalised in the face of neoliberal modernisation characterised by industrialisation, commodification, consumerism, globalisation and trivialisation (Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-153\" data-sectionId=\"#REFe-r-153\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh and Francis\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E:2–3). Traditional precursor artist-musicians are thus ‘cannibalised’ without any acknowledgement of debt (Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-153\" data-sectionId=\"#REFe-r-153\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh and Francis\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E). ‘Tradition’ is thus the well that feeds ‘modernity’. ‘Modern’ creation draws from ‘traditions’ and is replenished by them in this symbolic cannibalism.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EModern popular music is closely linked to the market (music marketing in this case) and to the mass media that ensure its visibility (Thomas & Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-196\" data-sectionId=\"#REFe-r-196\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Thomas, Nyamnjoh, Mazonde and Thomas\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E; Diawarra \u003Ca class=\"xref bibr\" href=\"#REFe-r-063\" data-sectionId=\"#REFe-r-063\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Diawarra, Röschenthaler and Diawarra\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E). As an object of research, it is stretched between the local (in terms of situations and places) and the global (in terms of economic, political and social systems), between instances of musical production and instances of reception and effects of music (Rouzé \u003Ca class=\"xref bibr\" href=\"#REFe-r-180\" data-sectionId=\"#REFe-r-180\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rouzé\u003C\u002Fspan\u003E2004\u003C\u002Fa\u003E:11). Even under colonial rule, the music of the colonised did not always conform to the exogenously generated logics of colonial power and capitalism. This is why, beyond the elite\u002Fpeople distinction, it is important to pay attention to the field generally referred to as traditional and endogenous music. The artist-musicians who have responded to the call of commercialism and the commodification of their works have tended (to draw inspiration from or) to borrow from various market musical traditions: ethnic, popular, elitist, colonial and Western. Artists also draw on popular music in their quest for creativity and originality. On the other hand, ‘ethnic’ and ‘traditional’ music continues to live on by borrowing from the dominant forms of music on the market. Today, popular music is a cultural commodity integrated into the market economy, particularly the globalised entertainment economy (Flichy \u003Ca class=\"xref bibr\" href=\"#REFe-r-078\" data-sectionId=\"#REFe-r-078\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Flichy\u003C\u002Fspan\u003E1991\u003C\u002Fa\u003E; Rouzé \u003Ca class=\"xref bibr\" href=\"#REFe-r-180\" data-sectionId=\"#REFe-r-180\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rouzé\u003C\u002Fspan\u003E2004\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"B-sec-5\" data-magellan-destination=\"B-sec-5\"\u003E\u003Ch4 class=\"B title\"\u003E Methodological Note \u003C\u002Fh4\u003E\u003Cp class=\"p\"\u003EThis Element is based on previous anthropological fieldwork, flirting with the anthropology of the city, and paying attention to cultural diversity in a comprehensive approach, in an attempt to grasp the meaning of the other by empathising with their experience and interpreting their intention or intentionality. It focuses specifically on modern popular music in Côte d’Ivoire, as a cultural \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Einstitution. The question of heritage is examined through the logic and modalities of its production, its actors, its places of performance (rehearsal rooms, recording studios, etc.), and so on. The data come from a multi-site survey (by impregnation, in situ observation) of informants from the world of producers (creators, singers, arrangers, studio technicians, etc.) in their places of work, their frame of ordinary experience (Goffman \u003Ca class=\"xref bibr\" href=\"#REFe-r-088\" data-sectionId=\"#REFe-r-088\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Goffman\u003C\u002Fspan\u003E1991\u003C\u002Fa\u003E). In Abidjan (Côte d’Ivoire), this survey consisted of meeting musicians who were members of groups in training that \u003Cem class=\"italic\"\u003Ewere\u003C\u002Fem\u003E ideologically opposed, but which were similar in terms of their socioeconomic and working conditions: young musicians who tended to play \u003Cem class=\"italic\"\u003Ezouglou\u003C\u002Fem\u003E, others who claimed to be \u003Cem class=\"italic\"\u003ERastas,\u003C\u002Fem\u003E musicians who were labelled \u003Cem class=\"italic\"\u003Ejazz\u003C\u002Fem\u003E but who moved happily from one musical style to another. These groups of young people are windows onto the elective communities or ‘tribes’ (Maffesoli \u003Ca class=\"xref bibr\" href=\"#REFe-r-129\" data-sectionId=\"#REFe-r-129\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Maffesoli\u003C\u002Fspan\u003E1988\u003C\u002Fa\u003E) that populate the music world and enliven the local musical scene. As far as possible, the deterritorialised view took in the various performance venues of the players and, at the same time, the critical venues of musical mediation. These are places of creation (young \u003Cem class=\"italic\"\u003Ezouglou\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Erasta\u003C\u002Fem\u003E and \u003Cem class=\"italic\"\u003Ejazz\u003C\u002Fem\u003E musicians, rehearsal rooms, etc.), places of production (studio, ‘producer’s’ office) and so on. The oral dimension is inevitably linked to the popular nature of this music. Admittedly, it is important to avoid the aporia of ‘graphocentrism’, so it should come as no surprise that there are no musical transcriptions in this Element. The work also necessitated a historiography based on a social history on the fringes of a (controversial) history of the present day: ‘that which is done with and under the control of witnesses, it is also that which can use their contribution to make up for the absence of scriptural sources and to constitute others that allow history to be written differently’ (Wolikow \u003Ca class=\"xref bibr\" href=\"#REFe-r-217\" data-sectionId=\"#REFe-r-217\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wolikow\u003C\u002Fspan\u003E1998\u003C\u002Fa\u003E:14).\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"B-sec-6\" data-magellan-destination=\"B-sec-6\"\u003E\u003Ch4 class=\"B title\"\u003E Outlines \u003C\u002Fh4\u003E\u003Cp class=\"p\"\u003EThe Element is divided into eight sections. The first three deal with the rise of modern popular music in a kind of archaeology of recent history. This elementary historicisation has made it possible to contextualise contemporary Ivorian popular music. Localised music, in other places, in other (cultural) flows, comes, forms and mixes to create as much as possible these \u003Cem class=\"italic\"\u003Emediascapes\u003C\u002Fem\u003E or \u003Cem class=\"italic\"\u003Eideoscapes\u003C\u002Fem\u003E (Appadurai \u003Ca class=\"xref bibr\" href=\"#REFe-r-007\" data-sectionId=\"#REFe-r-007\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Appadurai\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E) – or, to push the same logic, \u003Cem class=\"italic\"\u003Esoundscapes\u003C\u002Fem\u003E or even \u003Cem class=\"italic\"\u003Emusicscapes\u003C\u002Fem\u003E, for purposes of contextualisation. The Element then turns to the poetics of contemporary urban musical art in Côte d’Ivoire. The following four sections examine this social phenomenon from the angle of its creation, performance, learning and ritualisation (its social functions), in its political, social and cultural \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Econtexts. Technology is important. It largely determines the production and inevitably the form and content of music. Here too, it is important to avoid the trap of ‘technologism’. Finally, popular music today is (much) more than technology. The \u003Ca class=\"xref sec\" href=\"#A-sec-12\" data-sectionId=\"#A-sec-12\"\u003Efinal section\u003C\u002Fa\u003E examines what constitutes the true meaning of the artistic-musical heritage: modern popular music is difficult to restrain. Deployed between entertainment and popular intellectuality, is it not the place of heritage par excellence?\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EA brief history of the rise of Ivorian popular music can first be understood in the context of the peri-Atlantic circulation of people, ideas and objects. It is then written in the more localised context of such movements on the West African coast and in the colonies. In this way, the dominant or hegemonic urban musical forms were created and developed in the city, from colonisation to the twenty-first century. This history enables us to understand the profound consequences that the past has had on the recent form, content and direction of popular music. ‘We sit on the old mat to weave the new one’. The contemporary city preserves and reinforces these attributes. We will show how Ivorian popular music has become a (quasi-)cultural industry.\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"A-sec-5\" data-magellan-destination=\"A-sec-5\"\u003E\u003Ch3 class=\"A title\"\u003E\u003Cspan class=\"label\"\u003E1\u003C\u002Fspan\u003E Popular Music in the Colony \u003C\u002Fh3\u003E\u003Cp class=\"p\"\u003EDuring the colonial period, the music of Africans changed, ‘asserted itself and diversified’ (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E:14) through contact with the burgeoning city, the small proletariat that developed there, the youth associations and movements (Mignon \u003Ca class=\"xref bibr\" href=\"#REFe-r-139\" data-sectionId=\"#REFe-r-139\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mignon\u003C\u002Fspan\u003E1984\u003C\u002Fa\u003E:68) active in working-class neighbourhoods, urban festivals, bar-dancings (Balandier \u003Ca class=\"xref bibr\" href=\"#REFe-r-025\" data-sectionId=\"#REFe-r-025\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Balandier\u003C\u002Fspan\u003E1957\u003C\u002Fa\u003E; Rouch \u003Ca class=\"xref bibr\" href=\"#REFe-r-178\" data-sectionId=\"#REFe-r-178\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rouch\u003C\u002Fspan\u003E1959\u003C\u002Fa\u003E), thanks to the development and expansion of sound broadcasting (Tudesq \u003Ca class=\"xref bibr\" href=\"#REFe-r-203\" data-sectionId=\"#REFe-r-203\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tudesq\u003C\u002Fspan\u003E1998\u003C\u002Fa\u003E) and above all the record industry and the gradual replacement of the gramophone by the electrophone and the tape recorder. The city in Côte d’Ivoire is a ‘product of colonisation’ (Zadi \u003Ca class=\"xref bibr\" href=\"#REFe-r-221\" data-sectionId=\"#REFe-r-221\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Zadi\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E:31), determining its population, morphology, physiognomy and sociology. The structuring of urban space between 1920 and 1930 was to have a lasting impact on the subsequent urbanisation of Côte d’Ivoire. The urban centre developed by the coloniser was the territorial framework around which new economic structures were organised and articulated (Kipré \u003Ca class=\"xref bibr\" href=\"#REFe-r-107\" data-sectionId=\"#REFe-r-107\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kipré\u003C\u002Fspan\u003E1975\u003C\u002Fa\u003E:102–107).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E Aimed at satisfying the needs of the metropolis, the economy of the colony of Côte d’Ivoire combined the pre-colonial cycles of production and trade with a trading economy characterised by the export of ‘very heavy raw products (wood, cocoa, palm oil and palm kernels in particular, but also kola); in return it received finished products whose weight was much less important than their price’ (Kipré \u003Ca class=\"xref bibr\" href=\"#REFe-r-107\" data-sectionId=\"#REFe-r-107\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kipré\u003C\u002Fspan\u003E1975\u003C\u002Fa\u003E:100). The colonial context, which turned ancient African society upside down, was therefore a decisive turning point in the evolution and transformation of music.\n\u003C\u002Fp\u003E\u003Cdiv class=\"disp-quote\"\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EThe colonial period was the time when African societies learned to live in cities. The initial difficulties in populating the city gave way to workers’ camps, designed for young men who had a job and were assumed to be single. The regrouping or formation of families then made it possible to rebalance and broaden the age pyramids at the base.\u003C\u002Fp\u003E\u003Cdiv class=\"attrib\"\u003E(Piermay \u003Ca class=\"xref bibr\" href=\"#REFe-r-167\" data-sectionId=\"#REFe-r-167\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Piermay\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E:39)\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003Cp class=\"p\"\u003EIn the coastal towns in particular, dealing with European ships, ordinary social and cultural life was altered. These towns were ‘active markets for foodstuffs and imported consumer goods’ (Kipré \u003Ca class=\"xref bibr\" href=\"#REFe-r-107\" data-sectionId=\"#REFe-r-107\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kipré\u003C\u002Fspan\u003E1975\u003C\u002Fa\u003E:116). After 1930, the small towns of Côte d’Ivoire had a heterogeneous African social environment made up of businessmen, landowners, traders, urban planters, large traders, civil servants and factory clerks. This sort of literate urban bourgeoisie was distinguished from the rest of the African population by its remuneration and civic status (Kipré \u003Ca class=\"xref bibr\" href=\"#REFe-r-105\" data-sectionId=\"#REFe-r-105\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kipré\u003C\u002Fspan\u003E1986\u003C\u002Fa\u003E; Le Pape \u003Ca class=\"xref bibr\" href=\"#REFe-r-123\" data-sectionId=\"#REFe-r-123\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Le Pape\u003C\u002Fspan\u003E1997\u003C\u002Fa\u003E). This social milieu soon saw a mixture of native, non-native and non-Indigenous populations made up of employees, shopkeepers and craftsmen who quickly formed the small proletariat of the cities and who were the real inhabitants of the city, appropriating this space and organising its social and cultural life (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E:19).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe city, its movement and circulation, brought about changes in forms of sociality, in systems of representation and in individual behaviour (Bibeau \u003Ca class=\"xref bibr\" href=\"#REFe-r-037\" data-sectionId=\"#REFe-r-037\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bibeau\u003C\u002Fspan\u003E1993\u003C\u002Fa\u003E:254). These embryonic multi-ethnic cities mixed ethnic groups from within and outside the colony: ‘through maritime navigation and colonial routes, people and techniques moved, as did cultural and artistic modes’ (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E: 19). Music from elsewhere, from Europe, continental Africa and the diaspora, was heard and developed in the new cities. Musical practices in West and Southern Africa in the nineteenth century were already marked by exchanges and mixtures with those of Europe, the Caribbean and the Americas. Congolese rumba, which was to influence popular music in Côte d’Ivoire, was one of the fruits of these exchanges (see Doua \u003Ca class=\"xref bibr\" href=\"#REFe-r-067\" data-sectionId=\"#REFe-r-067\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Doua\u003C\u002Fspan\u003E2020\u003C\u002Fa\u003E:160).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe city was a key venue for the dissemination of music from the African diaspora in the Americas, creating new, essentially crossbred musical forms which, by crossing ‘the Atlantic once again, but in the opposite direction, [contributed] to the genesis of new African popular music, which the Congo of the time had specialised in’ (Bonniol \u003Ca class=\"xref bibr\" href=\"#REFe-r-040\" data-sectionId=\"#REFe-r-040\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bonniol, Abou and Haddad\u003C\u002Fspan\u003E1999\u003C\u002Fa\u003E:321). In short, ‘the city was a fertile cultural melting pot where different musical genres collided and interpenetrated’ (Meyran \u003Ca class=\"xref bibr\" href=\"#REFe-r-138\" data-sectionId=\"#REFe-r-138\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Meyran\u003C\u002Fspan\u003E2014\u003C\u002Fa\u003E:2).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe bars and dance halls, mixing crowds and sounds, are undeniably important in the social life of the African city of its birth (Balandier \u003Ca class=\"xref bibr\" href=\"#REFe-r-025\" data-sectionId=\"#REFe-r-025\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Balandier\u003C\u002Fspan\u003E1957\u003C\u002Fa\u003E:283–284). The novel \u003Cem class=\"italic\"\u003EVille cruelle\u003C\u002Fem\u003E (\u003Cem class=\"italic\"\u003ECruel City\u003C\u002Fem\u003E) describes how, at nightfall, the hub of life shifts from the administrative centre to the outlying districts, constituting a ‘revenge’ of the Indigenous quarter on the European quarter (Eza Boto \u003Ca class=\"xref bibr\" href=\"#REFe-r-073\" data-sectionId=\"#REFe-r-073\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Boto\u003C\u002Fspan\u003E1954[1971]\u003C\u002Fa\u003E:23). The film \u003Cem class=\"italic\"\u003EMoi un Noir\u003C\u002Fem\u003E (\u003Cem class=\"italic\"\u003EMe a Black\u003C\u002Fem\u003E) (Rouch \u003Ca class=\"xref bibr\" href=\"#REFe-r-178\" data-sectionId=\"#REFe-r-178\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rouch\u003C\u002Fspan\u003E1959\u003C\u002Fa\u003E) introduces \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Eus to the contrasting arcana of Abidjan, a ‘holiday town’ for Europeans at the end of the colonial period, showing the nightlife in Treichville and the bustling cultural scene. In bars such as \u003Cem class=\"italic\"\u003EL’Etoile du sud\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003ELe Tourlourou\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003EL’Espérance\u003C\u002Fem\u003E and \u003Cem class=\"italic\"\u003EL’Oasis du désert\u003C\u002Fem\u003E, Caribbean \u003Cem class=\"italic\"\u003Echa cha\u003C\u002Fem\u003E was fashionable and Congolese \u003Cem class=\"italic\"\u003Erumba\u003C\u002Fem\u003E was beginning to make inroads, performed by local orchestras. The modern popular music that emerged developed in an urban environment, on the outskirts of the city of the whites, in a phenomenon shared by the French colonies (Balandier \u003Ca class=\"xref bibr\" href=\"#REFe-r-025\" data-sectionId=\"#REFe-r-025\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Balandier\u003C\u002Fspan\u003E1957\u003C\u002Fa\u003E; Rouch \u003Ca class=\"xref bibr\" href=\"#REFe-r-178\" data-sectionId=\"#REFe-r-178\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rouch\u003C\u002Fspan\u003E1959\u003C\u002Fa\u003E; Gondola \u003Ca class=\"xref bibr\" href=\"#REFe-r-089\" data-sectionId=\"#REFe-r-089\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gondola\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-090\" data-sectionId=\"#REFe-r-090\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gondola\u003C\u002Fspan\u003E1997\u003C\u002Fa\u003E; Kouvouama \u003Ca class=\"xref bibr\" href=\"#REFe-r-115\" data-sectionId=\"#REFe-r-115\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kouvouama\u003C\u002Fspan\u003E2013\u003C\u002Fa\u003E). In the colonial city, in fact, ‘popular song developed within the immigrant African communities that took charge of creating a specifically African urban culture’ (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E:19; see also Le Pape \u003Ca class=\"xref bibr\" href=\"#REFe-r-123\" data-sectionId=\"#REFe-r-123\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Le Pape\u003C\u002Fspan\u003E1997\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn the city, [modern] popular song also developed ‘within the immigrant African communities who took charge of the creation of a specifically African urban culture’ (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E:19). Until the early 1950s, the secondary sector was still in its infancy, and the majority of the population had not broken with peasant life. Thus, there was no difference between the oral poetry (declaimed or sung) practised in town and that of the countryside (Zadi \u003Ca class=\"xref bibr\" href=\"#REFe-r-221\" data-sectionId=\"#REFe-r-221\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Zadi\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E:32). These ‘traditional’ forms of poetry were to change as a result of contact with French chanson and music and aesthetics from elsewhere. But the real turning point came when Congolese orchestras, particularly OK Jazz, toured Côte d’Ivoire. ‘The neo-oralist movement was born and soon established its own celebrities: Nahounou Digbeu, known as Amédée Pierre, Anouma Brouh Félix, Mamadou Doumbia, Ndouba Simon, and later Ernesto Djédjé, father of modern Ziglibity, and many others’ (Zadi \u003Ca class=\"xref bibr\" href=\"#REFe-r-221\" data-sectionId=\"#REFe-r-221\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Zadi\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E:32). Amédée Pierre, the paragon of the modern singer, took up the ‘traditionality’ of the ‘traditional’ singer, brought about a veritable revolution in sung poetry by using the Bété language and modern musical orchestration, and ‘succeeded in recreating in the city, among a population that did not speak the same language, the village poetry evenings that seemed to suit only small, linguistically unified communities’ (Zadi \u003Ca class=\"xref bibr\" href=\"#REFe-r-221\" data-sectionId=\"#REFe-r-221\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Zadi\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E:33).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe arrival of electricity had an impact on both the city and the production and consumption of music. Phonographs – the privilege of wealthy citizens, clubs and bars – and later electrophones and tape recorders, as well as the development of sound broadcasting around the world and the introduction of radio in Côte d’Ivoire were to broaden the audience for Western popular music and that of the Black Atlantic. Thanks to the boom in maritime transport, objects (78 rpm records from the Black Americas, musical instruments) of knowledge and know-how from the Black Americas were introduced by Latin American sailors – Cubans in particular, and Krou sailors (Gondola \u003Ca class=\"xref bibr\" href=\"#REFe-r-090\" data-sectionId=\"#REFe-r-090\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gondola\u003C\u002Fspan\u003E1997\u003C\u002Fa\u003E; Mazzoleni \u003Ca class=\"xref bibr\" href=\"#REFe-r-134\" data-sectionId=\"#REFe-r-134\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mazzoleni\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E). Transport and (means of) communication were therefore of vital importance in this circulation of cultural products (Warnier \u003Ca class=\"xref bibr\" href=\"#REFe-r-211\" data-sectionId=\"#REFe-r-211\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Warnier\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:28–29; Gilroy \u003Ca class=\"xref bibr\" href=\"#REFe-r-084\" data-sectionId=\"#REFe-r-084\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gilroy\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E), \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Ebut also of musical ideas, learning, inspiration and artistic emulation, as the example of Wendo Kolosoy shows (Popovitch \u003Ca class=\"xref bibr\" href=\"#REFe-r-170\" data-sectionId=\"#REFe-r-170\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Popovitch\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E). The colonial period also saw the development of brass bands, the first of which were military or militarised, pastiches of \u003Cem class=\"italic\"\u003Emarching bands\u003C\u002Fem\u003E or \u003Cem class=\"italic\"\u003Ebrass bands\u003C\u002Fem\u003E, circulating initially along the Ivorian coast (Dagri \u003Ca class=\"xref bibr\" href=\"#REFe-r-058\" data-sectionId=\"#REFe-r-058\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Dagri\u003C\u002Fspan\u003E2019a\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMusic is created and developed through a ‘circulation’ of knowledge and know-how, motifs (themes), harmonic sequences, sonorities, instruments, cadences, rhythms and rhythmic forms, and so on. Former American slaves were to become formidable sailors in the European fleets, as well as musicians who were to deploy their talents wherever they went, particularly in Sierra Leone and Côte d’Ivoire. It was in this context that the brass band took off, particularly in the circles of Grand-Béréby, Tabou, Sassandra, and Fresco (Dagri \u003Ca class=\"xref bibr\" href=\"#REFe-r-058\" data-sectionId=\"#REFe-r-058\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Dagri\u003C\u002Fspan\u003E2019a\u003C\u002Fa\u003E). This cultural ‘graft’ took hold for cultural, social and religious reasons. On the coast, where the colonial presence was strong, colonisation intentionally destroyed the Indigenous cultures and substituted its own. Music in particular, an important element of cultural identity, was disqualified in favour of fanfare music performed at official and public events. For its part, the Catholic Church outlawed certain Indigenous practices, including the playing of traditional musical instruments (Nyamnjoh & Fokwang \u003Ca class=\"xref bibr\" href=\"#REFe-r-156\" data-sectionId=\"#REFe-r-156\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh and Fokwang\u003C\u002Fspan\u003E2005\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe creation of African brass bands and the creation of ‘Indigenous’ repertoires is often a reaction to this negation of ‘Indigenous’ music by the colonisers. Throughout the coast, the brass band has become a ‘tradition’ and the local populations have conceivably ‘forgotten’ traditional music as it might have been played with the traditional instruments of the \u003Cem class=\"italic\"\u003EKroumen\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003ENéyo\u003C\u002Fem\u003E and so on. It can be assumed that they have certainly reflected their habitus of playing traditional music. We can assume that they have certainly translated their musical habitus into Western tempered instruments and harmonic structures.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn the second half of the nineteenth century, Jamaican sailors began spreading Caribbean music (i.e. \u003Cem class=\"italic\"\u003Ecalypso\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Emerengue\u003C\u002Fem\u003E) in Cape Town (South Africa). These styles spread up and down the West African coast, mixing with other local rhythms by river and land, producing such novelties as the \u003Cem class=\"italic\"\u003Eadaha\u003C\u002Fem\u003E, an African brass band. Later, in the 1920s, in Sierra Leone, the \u003Cem class=\"italic\"\u003EKru\u003C\u002Fem\u003E sailors, of good repute, returned from coastal trading in the Congo with alcohol, but also with melodies, musical instruments and the rudiments of instrumental technique (Doumergue \u003Ca class=\"xref bibr\" href=\"#REFe-r-069\" data-sectionId=\"#REFe-r-069\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Doumergue\u003C\u002Fspan\u003E1981\u003C\u002Fa\u003E). They created a (\u003Cem class=\"italic\"\u003Esofter)\u003C\u002Fem\u003E derivative of the \u003Cem class=\"italic\"\u003Eadaha\u003C\u002Fem\u003E, the \u003Cem class=\"italic\"\u003Emaringa\u003C\u002Fem\u003E, a ‘\u003Cem class=\"italic\"\u003Epalm\u003C\u002Fem\u003E wine jazz’, played on guitars, banjos and accordions, combining the songs and dances of the English sailors with Caribbean melodies such as \u003Cem class=\"italic\"\u003Efoxtrot\u003C\u002Fem\u003E and \u003Cem class=\"italic\"\u003Ecalypso\u003C\u002Fem\u003E, giving rise to other types of music (Collins \u003Ca class=\"xref bibr\" href=\"#REFe-r-054\" data-sectionId=\"#REFe-r-054\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Collins\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E). This palm wine music was adopted and spread by the \u003Cem class=\"italic\"\u003EKru\u003C\u002Fem\u003E sailors from Liberia sailing along the West African coast. In the process, they also spread guitars, banjos and \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Eaccordions throughout the coastal countries, as far as Cape Town. In the mid-1920s, this new music (\u003Cem class=\"italic\"\u003Emaringa\u003C\u002Fem\u003E) reached Ghana where, mixing with \u003Cem class=\"italic\"\u003Eosibisaba\u003C\u002Fem\u003E, a \u003Cem class=\"italic\"\u003EFanti\u003C\u002Fem\u003E rhythm, \u003Cem class=\"italic\"\u003Efoxtrot\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Epalm wine jazz\u003C\u002Fem\u003E and so on, it developed in the 1930s and 1940s into \u003Cem class=\"italic\"\u003Ehighlife\u003C\u002Fem\u003E, a fusion of black American, European and African music, popularised in the following years.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe port cities, often former colonial trading posts that gave rise to large cities and important ports, ensured the circulation of musical instruments and technical devices. This aspect of Atlantic circulation plays an important role in understanding the dynamics of the creation of new music and new cultures in continental Africa (Zeleza \u003Ca class=\"xref bibr\" href=\"#REFe-r-224\" data-sectionId=\"#REFe-r-224\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Zeleza\u003C\u002Fspan\u003E2005\u003C\u002Fa\u003E:221), and in Côte d’Ivoire in particular. It enables us to understand the birth of Congolese \u003Cem class=\"italic\"\u003Ehighlife\u003C\u002Fem\u003E and \u003Cem class=\"italic\"\u003Erumba\u003C\u002Fem\u003E, which were to have a major influence on the creation of modern Ivorian popular music. In the end, whatever the mode, musical ‘traditions’ blend together to produce the multi-traditional cultural fund from which contemporary creation draws. The circuits of influence seem to form part of an endless circularity.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn the 1950s (until the end of the 1960s), popular balls – the famous ‘dust balls’ – were predominant, often led by ‘ethnic’ orchestras. The adventure of radio broadcasting in Côte d’Ivoire began in 1949. It had only been possible to establish radio broadcasting ‘since the popularisation of transistor radios’ (Tudesq \u003Ca class=\"xref bibr\" href=\"#REFe-r-201\" data-sectionId=\"#REFe-r-201\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tudesq\u003C\u002Fspan\u003E2002\u003C\u002Fa\u003E:5). The period of independence coincided with the invention of the transistor. At the same time as the voice of political leaders, modern popular song could begin to penetrate the countryside as well as the city. Radio was as much a vehicle for African nationalism, particularly that of Kwame Nkrumah (in 1957) and Sékou Touré (in 1958), neighbours of Félix Houphouët-Boigny’s Côte d’Ivoire, as it was for popular song. It was through them that the famous \u003Cem class=\"italic\"\u003E‘Indépendance cha cha’\u003C\u002Fem\u003E (by Grand Kallé and African Jazz) was popularised. But also, in a post-war context, where the Ivorian political system was initiating the industrialisation of the country, the question of mass culture inevitably arose. Society was no longer restricted to the literate urban elite, but was gradually expanding to include more modest sections of the population (the urban proletariat, the rural petty bourgeoisie, etc.). These groups, excluded from the modern society that was taking shape, found ‘forms of belonging and cultural forms’ in a popular culture that was itself under construction (compare Balandier 1955; Rouch \u003Ca class=\"xref bibr\" href=\"#REFe-r-178\" data-sectionId=\"#REFe-r-178\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rouch\u003C\u002Fspan\u003E1959\u003C\u002Fa\u003E). With the rise of radio broadcasting in the late 1950s (Tudesq \u003Ca class=\"xref bibr\" href=\"#REFe-r-203\" data-sectionId=\"#REFe-r-203\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tudesq\u003C\u002Fspan\u003E1998\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-202\" data-sectionId=\"#REFe-r-202\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tudesq\u003C\u002Fspan\u003E1999\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-201\" data-sectionId=\"#REFe-r-201\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tudesq\u003C\u002Fspan\u003E2002\u003C\u002Fa\u003E; Bahi \u003Ca class=\"xref bibr\" href=\"#REFe-r-020\" data-sectionId=\"#REFe-r-020\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bahi\u003C\u002Fspan\u003E1998\u003C\u002Fa\u003E; Koné \u003Ca class=\"xref bibr\" href=\"#REFe-r-113\" data-sectionId=\"#REFe-r-113\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Koné\u003C\u002Fspan\u003E1989\u003C\u002Fa\u003E), that of cinema (Retord \u003Ca class=\"xref bibr\" href=\"#REFe-r-172\" data-sectionId=\"#REFe-r-172\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Retord\u003C\u002Fspan\u003E1986\u003C\u002Fa\u003E; Traoré \u003Ca class=\"xref bibr\" href=\"#REFe-r-200\" data-sectionId=\"#REFe-r-200\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Traoré\u003C\u002Fspan\u003E1986\u003C\u002Fa\u003E) and then that of terrestrial television (Koné \u003Ca class=\"xref bibr\" href=\"#REFe-r-113\" data-sectionId=\"#REFe-r-113\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Koné\u003C\u002Fspan\u003E1989\u003C\u002Fa\u003E; Bahi \u003Ca class=\"xref bibr\" href=\"#REFe-r-021\" data-sectionId=\"#REFe-r-021\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bahi\u003C\u002Fspan\u003E1994\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-020\" data-sectionId=\"#REFe-r-020\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bahi\u003C\u002Fspan\u003E1998\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-019\" data-sectionId=\"#REFe-r-019\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bahi\u003C\u002Fspan\u003E1999\u003C\u002Fa\u003E) from 1963 onwards, of the press and in particular magazines, with the introduction of images from the Western world, from the end of the 1960s in the case of Côte d’Ivoire, communication opened up the market for leisure activities and cultural industries (Caune \u003Ca class=\"xref bibr\" href=\"#REFe-r-052\" data-sectionId=\"#REFe-r-052\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Caune\u003C\u002Fspan\u003E1995\u003C\u002Fa\u003E:44).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EIn Côte d’Ivoire, \u003Cem class=\"italic\"\u003Ehighlife\u003C\u002Fem\u003E music, the official national music of Ghana, first influenced Christian religious singing (prosaically known as church music). \u003Cem class=\"italic\"\u003EHighlife\u003C\u002Fem\u003E (and Afro-Cuban music) reached Central Africa in the 1950s and had an impact on Congolese \u003Cem class=\"italic\"\u003Erumba.\u003C\u002Fem\u003E In the Belgian Congo, it influenced Wendo Kolosoy, one of the pioneers of Congolese \u003Cem class=\"italic\"\u003Erumba.\u003C\u002Fem\u003E The influence of West African immigrants, who were ‘advanced’ musically, brought their know-how (the \u003Cem class=\"italic\"\u003Ehighlife\u003C\u002Fem\u003E in vogue at the time) to musicians in Central Africa, thus influencing \u003Cem class=\"italic\"\u003Erumba\u003C\u002Fem\u003E. Their ‘advance’ was probably due to the fact that Africans, Ghanaians in particular, had been drafted into European armies during the pre-colonial era, but especially during the colonial period. They were thus exposed to military musical traditions (Dagri \u003Ca class=\"xref bibr\" href=\"#REFe-r-058\" data-sectionId=\"#REFe-r-058\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Dagri\u003C\u002Fspan\u003E2019a\u003C\u002Fa\u003E). Karin Barber (\u003Ca class=\"xref bibr\" href=\"#REFe-r-026\" data-sectionId=\"#REFe-r-026\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Barber\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E) sums up this whole period well, and what she says about colonial sub-Saharan Africa applies to the situation in Côte d’Ivoire at the time:\n\u003C\u002Fp\u003E\u003Cdiv class=\"disp-quote\"\u003E\u003Cp class=\"p\"\u003EIn almost every city in colonial sub-Saharan Africa, new genres of popular music emerged: \u003Cem class=\"italic\"\u003Ehighlife\u003C\u002Fem\u003E on the Gold Coast, \u003Cem class=\"italic\"\u003Ejuju\u003C\u002Fem\u003E in western Nigeria, Congolese rumba, \u003Cem class=\"italic\"\u003Edansi\u003C\u002Fem\u003E in Dar es Salaam, \u003Cem class=\"italic\"\u003Emarabi\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Ekwela\u003C\u002Fem\u003E and \u003Cem class=\"italic\"\u003Eisicathamiya\u003C\u002Fem\u003E in South Africa. Increasingly, in the mid-twentieth century, the popular music movement took on an extra dimension: radio, then television, gave it a wider reach and faster movement. New popular styles crossed national borders and new songs conquered audiences in entire regions with extraordinary speed. But underneath it all, live bands travelled from town to town and records, and later cassettes, were distributed along the roads and railways from town to town and from cities to small towns and villages. It seems that new styles were forged in specific urban centres and moved, adapting as they went, to other places.\u003C\u002Fp\u003E\u003Cdiv class=\"attrib\"\u003E(p. 99)\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003Cp class=\"p continuation\"\u003E\nThe term ‘jazz’, a sign of the influence of North American music from the 1950s onwards, is a true symbol of the modernity of African musicians and orchestras today (Mazzoleni \u003Ca class=\"xref bibr\" href=\"#REFe-r-134\" data-sectionId=\"#REFe-r-134\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mazzoleni\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E). Understanding this Ivorian popular music requires us to articulate the rural and urban worlds, not in a dichotomous juxtaposition or antinomy, but rather in terms of poles of tension and complementarity. Instead, their relationship should be understood in terms of ‘rurbanity’, the interface that is created when they meet. Rurbanity is understood as an intermediate space between town and country, between urban and rural. Rural people moving to the city in defined areas, urban people moving to the village in defined areas, all play an equally important role in the creation of rurbanity. It is a transitional space between urban and rural lifestyles, a place of mixing and compromise. The heuristic scope of the category ‘rurbanité’ seems to us to be more productive in that it emphasises an intermediate reality, one that defines the terms ‘urban’ and ‘rural’ not in terms of oppositions but rather in terms of complementarity.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EModern popular music is first and foremost a product of ‘rurbanity’. The ‘rurban’ space is understood as a place at the heart of the everyday life we live, and ‘where the unfinished spatial dynamics of centrality are inscribed’ (Bachimon \u003Ca class=\"xref bibr\" href=\"#REFe-r-014\" data-sectionId=\"#REFe-r-014\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bachimon\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E:10). The ‘rurban’ space, then, refers to those – often diffuse – places where town and country intertwine from a geographical, social, cultural, in short anthropological point of view, where modernity is negotiated (Macamo \u003Ca class=\"xref bibr\" href=\"#REFe-r-128\" data-sectionId=\"#REFe-r-128\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Macamo and Macamo\u003C\u002Fspan\u003E2005\u003C\u002Fa\u003E), where it is constructed daily in a processual way in the acts of ordinary individuals. Modern popular music therefore also develops in the rurban enclaves of cities undergoing rapid transformation (Rouch 1957, 1959). It is born of the meeting of worlds, as sketched out again in the film \u003Cem class=\"italic\"\u003ELa pyramide humaine\u003C\u002Fem\u003E (Rouch \u003Ca class=\"xref bibr\" href=\"#REFe-r-178\" data-sectionId=\"#REFe-r-178\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rouch\u003C\u002Fspan\u003E1959\u003C\u002Fa\u003E). This place allows us to grasp the very birth of rhythms and sounds, poetic and choreographic expressions, the transformations of existing musical art forms and the creativity induced by the city (Bibeau \u003Ca class=\"xref bibr\" href=\"#REFe-r-037\" data-sectionId=\"#REFe-r-037\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bibeau\u003C\u002Fspan\u003E1993\u003C\u002Fa\u003E:255; Roskem \u003Ca class=\"xref bibr\" href=\"#REFe-r-175\" data-sectionId=\"#REFe-r-175\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Roskem\u003C\u002Fspan\u003E2014\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe burgeoning city was already an effervescent place where diverse cultural realities rubbed shoulders, where musical genres and styles developed, echoed and exchanged. Music travels, ‘knows no boundaries’, knows how to ignore territories and create new ones (Lafannour \u003Ca class=\"xref bibr\" href=\"#REFe-r-117\" data-sectionId=\"#REFe-r-117\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Laffanour\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E). It is built on the circulation of ideas, musical concepts and objects; on blending (on ‘miscegenation’, creolisation), on cultural plurality, and is therefore mestizo by essence. It has to be said, then, that modern Ivorian popular music takes off through and in the movement of people, ideas and objects. It sounds like a pastiche of the observations made by Claude Lévi-Strauss in \u003Cem class=\"italic\"\u003EAnthropologie structurale\u003C\u002Fem\u003E (\u003Ca class=\"xref bibr\" href=\"#REFe-r-126\" data-sectionId=\"#REFe-r-126\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Lévi-Strauss\u003C\u002Fspan\u003E1958\u003C\u002Fa\u003E[\u003Ca class=\"xref bibr\" href=\"#REFe-r-126\" data-sectionId=\"#REFe-r-126\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Lévi-Strauss\u003C\u002Fspan\u003E1974\u003C\u002Fa\u003E]), in particular the exchange of people, goods and messages.\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"A-sec-6\" data-magellan-destination=\"A-sec-6\"\u003E\u003Ch3 class=\"A title\"\u003E\u003Cspan class=\"label\"\u003E2\u003C\u002Fspan\u003E The Development of (and by) Popular Music \u003C\u002Fh3\u003E\u003Cp class=\"p\"\u003EIndependence in French-speaking sub-Saharan Africa was marked by the famous ‘\u003Cem class=\"italic\"\u003EIndependence cha cha\u003C\u002Fem\u003E’. This reappropriation of an ‘essentially’ African rhythm, (re-)formed in the Americas and the Caribbean and brought back to Africa thanks to maritime transport, the phonograph, the nascent record industry and embryonic radio broadcasting, closely associated with urbanisation (Nyamnjoh & Fokwang \u003Ca class=\"xref bibr\" href=\"#REFe-r-156\" data-sectionId=\"#REFe-r-156\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh and Fokwang\u003C\u002Fspan\u003E2005\u003C\u002Fa\u003E:254), is of undeniable symbolic significance. Indeed, ‘during the Second World War, more difficult relations with the metropolis led African stations to produce more local broadcasts’ (Tudesq \u003Ca class=\"xref bibr\" href=\"#REFe-r-203\" data-sectionId=\"#REFe-r-203\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tudesq\u003C\u002Fspan\u003E1998\u003C\u002Fa\u003E:59–60). Despite the work of balkanisation and the strengthening of national sentiment brought about by the slow establishment of territorial radio stations, it is conceivable that modern popular music has remained extraterritorial. Concerning an administrative, social and cultural whole much larger than that of the (sometimes shifting) borders of a particular colony, popular music carries the hopes of development and the dreams of modernism of this young Africa.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EAt the beginning of the African rumba musical adventure, local rumba performers had to give the impression that they were speaking Spanish. This produced a kind of onomatopoeia that was often grotesque but that created the illusion of singing in Spanish. And even if this babble had no name, it was reminiscent of ‘\u003Cem class=\"italic\"\u003Efonronfifon naspa\u003C\u002Fem\u003E’ or ‘tirailleurs’ French’, the illusion of speaking the dominant ‘civilised’ French language (Hampâté Bâ \u003Ca class=\"xref bibr\" href=\"#REFe-r-096\" data-sectionId=\"#REFe-r-096\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Hampâté Bâ\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E:148). Later, as \u003Cem class=\"italic\"\u003Epop music\u003C\u002Fem\u003E spread over radio, television and dance halls, the illusion was that of speaking English, or even American. On reflection, this is reminiscent of the film \u003Cem class=\"italic\"\u003EMoi un Noir,\u003C\u002Fem\u003E in which Tarzan the Taxi Driver gabbles something that is supposed to be the English of American action films and, above all, the accent of Lemmy Caution, ‘American federal agent’.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn the first decade of independence (1960–1970), the newly independent Côte d’Ivoire had no cultural policy and even less of a real vision for modern popular music. It was building its cultural autonomy on the basis of material from colonial times, but also from mixing with other cultures. Yet music seemed to define a consumer market. In the early 1960s, Côte d’Ivoire imported cameras and accessories, phonographs, \u003Cem class=\"italic\"\u003Epick-ups\u003C\u002Fem\u003E, motors, record players, record changers, and so on from Switzerland, at least 50 per cent of them for cinema equipment (projectors and cameras). In music in particular: \u003Cem class=\"italic\"\u003Erumba\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Ehighlife\u003C\u002Fem\u003E, French ‘sentimental’ music, and so on. This process of recycling also reflects a process of identity-building through music.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn the 1970s, Côte d’Ivoire tried to follow this trend with the creation of major orchestras, such as the Orchestre national directed by Joseph Pango, the Orchestre de la Radiodiffusion télévision ivoirienne (ORTI), and orchestras such as the OFI de Bouaké and Le Bélier Andralex. Independence accelerated and amplified this movement initiated by the colonial situation. There is undoubtedly a close link between urban development and popular music. ‘The post-colonial phase [of the city] is that of the massification of the city, but also that of the appropriation of the city by African societies’ (Piermay \u003Ca class=\"xref bibr\" href=\"#REFe-r-167\" data-sectionId=\"#REFe-r-167\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Piermay\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E:39). With the possible exception of Plateau, all of Abidjan’s neighbourhoods are characterised by precarious housing, cosmopolitanism and intermingling, and are in a sense a ‘detribalised’ environment (Yapi Diahou \u003Ca class=\"xref bibr\" href=\"#REFe-r-220\" data-sectionId=\"#REFe-r-220\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Yapi Diahou\u003C\u002Fspan\u003E2000\u003C\u002Fa\u003E:125–134). These ‘zones’ are not, therefore, watertight, but are places par excellence of cultural exchange and mixing (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E, Kipré \u003Ca class=\"xref bibr\" href=\"#REFe-r-106\" data-sectionId=\"#REFe-r-106\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kipré\u003C\u002Fspan\u003E1985\u003C\u002Fa\u003E, Yapi Diahou \u003Ca class=\"xref bibr\" href=\"#REFe-r-220\" data-sectionId=\"#REFe-r-220\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Yapi Diahou\u003C\u002Fspan\u003E2000\u003C\u002Fa\u003E). In addition, economic growth has led to ‘a massive rural exodus and intense immigration from neighbouring countries’ (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E:21). School enrolment provided a stimulus for modernisation. But schooling is not enough to satisfy the cultural needs, which have increased or are increasing, and which reflect the spiritual void. This spiritual emptiness is due to a propensity to enjoy material wealth and the hunger to consume engendered by modern \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Esociety. Côte d’Ivoire is entering a consumer society. Song attempts to fill this cultural and spiritual void by expressing the aspirations of the masses: freedom, justice, solidarity, social progress. While modernising (in terms of instrumentation, structuring, harmonisation and composition), it valued the national languages through which it often expressed itself, improved knowledge of the past, and gave impetus to the cultural dynamic which itself accompanied the social and economic (political?) dynamic (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E:21).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIndependent Côte d’Ivoire witnessed a profusion of rhythms and songs, ‘a “national surge” in popular song’, with ‘singers from all ethnic groups appearing on the Ivorian musical scene, stimulated by the development of modern means of expressing and disseminating music’ (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E:14). There was a veritable flowering of artists and icons of the Ivorian musical universe, and Abidjan evenings were divided between numerous bars, \u003Cem class=\"italic\"\u003Enightclubs\u003C\u002Fem\u003E and \u003Cem class=\"italic\"\u003Edance halls\u003C\u002Fem\u003E.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThis does not mean that ‘traditional’ popular music has disappeared. Local, typical music is developing and even showing a certain vitality. ‘Traditional’ artists are evolving year after year in the new world of \u003Cem class=\"italic\"\u003Eshow business\u003C\u002Fem\u003E and the music industry. In more prosaic terms, the various genres and styles of popular music are categorised according to ethnic criteria (‘bété’, ‘attié’, ‘dioula’, etc.) or regional criteria (‘western’, ‘Agnéby’, ‘mandingue’, etc.). These many qualifications do little to hide the difficulty of classifying musical genres that are in fact already and always mixtures. The concept of ‘tradi-moderne’ put forward by musicologists and cultural journalists aims to characterise music that takes its inspiration from traditional music and interprets it with modern musical instruments (Kua-Nzambi Toko \u003Ca class=\"xref bibr\" href=\"#REFe-r-116\" data-sectionId=\"#REFe-r-116\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kua-Nzambi Toko\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E) in order to account for the complementarity of these incompleteness (to take up Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-154\" data-sectionId=\"#REFe-r-154\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh\u003C\u002Fspan\u003E2017\u003C\u002Fa\u003E’s proposal).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe emergence of certain figures in African popular music and a number of events have certainly influenced sub-Saharan artists. In the 1960s, musicians from the two Congos, the flagships of Congolese rumba, were to have a certain influence on Ivorian music. Events in Côte d’Ivoire itself and elsewhere in Africa were to shake up the music scene and influence Ivorian musical creativity. While many Ivorian decision-makers considered music to be mere entertainment, or even an obstacle to development (Dagri \u003Ca class=\"xref bibr\" href=\"#REFe-r-059\" data-sectionId=\"#REFe-r-059\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Dagri\u003C\u002Fspan\u003E2019b\u003C\u002Fa\u003E), President Félix Houphouët-Boigny saw it as a soft power tool, part of his development showcase and an ideology of success capable of attracting foreign investment. The country became more open to foreign artistic influences, continuing a movement that had begun during the colonial era.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn the 1970s, thanks to the penetration of radio, the development of television and the spread of vinyl records across the country, the ears and eyes of young people in Abidjan became more open to world music. Radio Côte d’Ivoire kept the airwaves alive with songs by French, African, American and Caribbean \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Eartists, who would have a strong influence on Ivorian musicians. Television broadcasts of French and American variety shows, as well as festivals and musical performances of various origins (including, for example, \u003Cem class=\"italic\"\u003ERumble in the Jungle –\u003C\u002Fem\u003E the famous Ali–Foreman boxing match). Print magazines such as \u003Cem class=\"italic\"\u003EHit Parade\u003C\u002Fem\u003E and \u003Cem class=\"italic\"\u003ESalut les copains\u003C\u002Fem\u003E circulated year in, year out, chronicling the lives of these new European idols, who were, after all, marked by a certain media Americanness. The mass media played a full part in this aesthetic openness, this cultural mix, in short, this circulation. Youth orchestras were influenced by the waves of ‘\u003Cem class=\"italic\"\u003Eyéyé\u003C\u002Fem\u003E’ (Morin 1962), \u003Cem class=\"italic\"\u003Epop\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Erock\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Esoul\u003C\u002Fem\u003E and \u003Cem class=\"italic\"\u003Ejerk\u003C\u002Fem\u003E, while others were influenced by Latin American rhythms. Ivorian popular music was influenced by rhythms from the Black African diaspora, particularly Cuban salsa, which began to develop in the 1960s. As if in response to a globalised movement (even if the term was not used at the time), young Ivorians mixed the \u003Cem class=\"italic\"\u003Ebit-nick ethos\u003C\u002Fem\u003E, then the \u003Cem class=\"italic\"\u003Ehippy ethos\u003C\u002Fem\u003E, with their African identity. They imitated these \u003Cem class=\"italic\"\u003Epop music\u003C\u002Fem\u003E figures and reproduced their music before producing ‘\u003Cem class=\"italic\"\u003EIvorian rock\u003C\u002Fem\u003E’.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EAt the same time, in line with a trend that began during colonisation, major orchestras such as Les Grands Columbia d’Adzopé and TP audiorama orchestra, with big names such as Okoi Séka Athanase and Amédée Pierre, who continued to entertain (until the mid 1980s) at the L’Oasis dance hall in Treichville, were developed and maintained.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe modernisation of popular music continued, with an all-out search for new sounds drawn from the music (instruments, rhythms, melodies) of the Ivorian musical traditions, the music of the ‘terroirs’: ‘modernisation’ and even revolution in a certain sense of Ivorian music, but also hybridisation and the influence of hybrid music. This period also saw the development of so-called typical music, strongly influenced by jazz but above all by Congolese, Cuban and Ghanaian rumbas, known as \u003Cem class=\"italic\"\u003Ehighlife\u003C\u002Fem\u003E (Bemba \u003Ca class=\"xref bibr\" href=\"#REFe-r-035\" data-sectionId=\"#REFe-r-035\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bemba\u003C\u002Fspan\u003E1984\u003C\u002Fa\u003E:46–47).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EAbidjan was more than just a stopover for visiting musicians; it was a place where music could flourish, and one that also played a part in the transformation of Ivorian popular music. Another example is the work of Manu Dibango, a professional musician of international expertise and renown, and a leading figure in Afro-jazz, as director of the Orchestre de la radiodiffusion télévision ivoirienne (Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-151\" data-sectionId=\"#REFe-r-151\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh\u003C\u002Fspan\u003E2020\u003C\u002Fa\u003E; Pajon \u003Ca class=\"xref bibr\" href=\"#REFe-r-163\" data-sectionId=\"#REFe-r-163\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Pajon\u003C\u002Fspan\u003E2021\u003C\u002Fa\u003E). This cultural melting pot had an influence on Ivorian music thanks to television, records and individual contacts with Ivorian figures (Mobio Agbakou Ludovic, Ernesto Djédjé, Mamadou Doumbia, Bailly Spinto, Yapi Amadékan, Aïcha Koné, Jeanne Agnimel, etc.) At the time (1978), ‘it was see Abidjan or die’, as Pierre ‘Dizzy’ Mandjeku put it. There was an artistic effervescence that touched every aspect of cultural life. It was reinforced by the opening of the JBZ studio in 1978, which was to \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Estimulate Ivorian and West African production. It was no longer necessary to use RTI equipment or travel to Ghana, Nigeria or France to record music. \u003Cem class=\"italic\"\u003EHighlife\u003C\u002Fem\u003E, then \u003Cem class=\"italic\"\u003EAfrobeat\u003C\u002Fem\u003E, would no longer reign supreme. The effects of intercultural exchange were reinforced by the rapid globalisation of other styles such as \u003Cem class=\"italic\"\u003Esoul music\u003C\u002Fem\u003E and \u003Cem class=\"italic\"\u003Efunk music\u003C\u002Fem\u003E. While Accra was the capital of \u003Cem class=\"italic\"\u003Ehighlife\u003C\u002Fem\u003E and Lagos the capital of \u003Cem class=\"italic\"\u003Eafrobeat\u003C\u002Fem\u003E, Abidjan was trying to position itself as the capital of \u003Cem class=\"italic\"\u003Efunk\u003C\u002Fem\u003E and \u003Cem class=\"italic\"\u003Edisco\u003C\u002Fem\u003E (Contreras \u003Ca class=\"xref bibr\" href=\"#REFe-r-056\" data-sectionId=\"#REFe-r-056\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Contreras\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E), the dance music par excellence. The JBZ studio, which was born at the heart of this explosion, was probably one of the first \u003Cem class=\"italic\"\u003Eworld music\u003C\u002Fem\u003E laboratories.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003ESince the 1970s, with the development of cities and the mass media, mass consumption and mass culture have developed. With mass consumption comes (paradoxically) a growing demand for authenticity. In the case of Côte d’Ivoire, the debate is particularly fierce because the colonial period has left traces that are slow to fade and wounds that are difficult to heal. Social life changed radically (see Vidal \u003Ca class=\"xref bibr\" href=\"#REFe-r-209\" data-sectionId=\"#REFe-r-209\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Vidal\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E; Ouattara \u003Ca class=\"xref bibr\" href=\"#REFe-r-160\" data-sectionId=\"#REFe-r-160\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Ouattara\u003C\u002Fspan\u003E1985\u003C\u002Fa\u003E; Touré \u003Ca class=\"xref bibr\" href=\"#REFe-r-199\" data-sectionId=\"#REFe-r-199\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Touré\u003C\u002Fspan\u003E1981\u003C\u002Fa\u003E). The movement continued over the next two decades. In the 1980s, with the globalisation of American music, young Ivorians ‘responded’ with Ivorian \u003Cem class=\"italic\"\u003Ecountry-folk\u003C\u002Fem\u003E music, \u003Cem class=\"italic\"\u003Ehip hop\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Ebreak dancing\u003C\u002Fem\u003E and so on.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe city is a formidable melting pot where people, ideas and objects circulate, abound and mix. Obviously, Abidjan appears to be an obligatory stopover, a springboard for many musical artists waiting to conquer Europe and the rest of the world. Côte d’Ivoire has long been a haven for people, including artists fleeing dictatorial political regimes or political instability in neighbouring countries. On the one hand, Ivorian music lovers have proved receptive to \u003Cem class=\"italic\"\u003Ehighlife\u003C\u002Fem\u003E, Congolese \u003Cem class=\"italic\"\u003Erumba\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Emakossa\u003C\u002Fem\u003E and many other African rhythms and genres. Côte d’Ivoire, and Abidjan in particular, has also played a role in the real flowering of artists. ‘For West African musicians, Abidjan and Côte d’Ivoire are naturally a kind of launch pad, a hub from which their international careers can take off towards other horizons’ (Ngoran \u003Ca class=\"xref bibr\" href=\"#REFe-r-149\" data-sectionId=\"#REFe-r-149\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Ngoran\u003C\u002Fspan\u003E2013\u003C\u002Fa\u003E: 174).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe picture painted above is not the story of a smooth cultural melting pot. ‘Culture’ and ‘politics’ have a complex and conflicting relationship. This ‘extrovert musicalisation’ (Dédy \u003Ca class=\"xref bibr\" href=\"#REFe-r-061\" data-sectionId=\"#REFe-r-061\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Dédy\u003C\u002Fspan\u003E1984\u003C\u002Fa\u003E:119) of programming in the mass media and in performance venues is not to the taste of some Ivorian artists and intellectuals. Their music was disqualified and relegated to the rank of ‘folklore’ (Dédy \u003Ca class=\"xref bibr\" href=\"#REFe-r-061\" data-sectionId=\"#REFe-r-061\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Dédy\u003C\u002Fspan\u003E1984\u003C\u002Fa\u003E). Indeed, this opening up to the outside world was appreciated in different ways: some hailed the opening up to the world necessary for development (synonymous with civilisation), while others cried cultural alienation threatening traditional local cultures. But television is sorely lacking in programmes and is filling its schedule with programmes borrowed \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Efrom Western television, mostly French, ‘ready to broadcast’, while benefiting from the aid of cooperation and development organisations and institutions. The result is a (remarkable) diversity of programmes in which music and, more generally, popular Ivorian ‘culture’ struggle to find a place. Paradoxically, the Ivorian mass media, while attempting to promote local realities and culture, tend to promote (more) the Americanised culture in the process of globalisation. National artists, rather on a ‘popular commission’, would mainly only perform in makeshift dance bars on the outskirts of the capital (Abobo, Yopougon, Port-Bouët, Treichville). Many musicians of the time saw this extraversion (openness) as a loss of earnings and a hindrance to the revival of national music, if not its liquidation.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn the cities, pioneer orchestras are often places of inter-ethnic and intercultural mixing. Many of the musicians and singers, former \u003Cem class=\"italic\"\u003Esidemen\u003C\u002Fem\u003E (musicians or choristers) in these pioneer orchestras, were undoubted schools of music. They in turn became leaders whose orchestral ensembles were laboratories for experimenting with blends and creating musical styles. Compared with the pre-colonial and colonial periods, ‘the era of independence is above all one of interference and syncretism’ (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E:22). Treichville was a place for mixing people and genres, people and cultures (Rouch \u003Ca class=\"xref bibr\" href=\"#REFe-r-178\" data-sectionId=\"#REFe-r-178\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rouch\u003C\u002Fspan\u003E1959\u003C\u002Fa\u003E), the showcase of Abidjan as a world city (Vidal \u003Ca class=\"xref bibr\" href=\"#REFe-r-208\" data-sectionId=\"#REFe-r-208\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Vidal\u003C\u002Fspan\u003E2002\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMass society is established, takes hold of cultural objects and gives birth to mass culture (Arendt \u003Ca class=\"xref bibr\" href=\"#REFe-r-008\" data-sectionId=\"#REFe-r-008\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Arendt\u003C\u002Fspan\u003E1972\u003C\u002Fa\u003E[2005]:265). In the 1980s, FM (frequency modulation) really penetrated Africa and improved listening quality (Tudesq \u003Ca class=\"xref bibr\" href=\"#REFe-r-202\" data-sectionId=\"#REFe-r-202\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tudesq\u003C\u002Fspan\u003E1999\u003C\u002Fa\u003E). Radio truly emerged as the \u003Cem class=\"italic\"\u003Emass media\u003C\u002Fem\u003E par excellence, particularly in its capacity for mass dissemination. The media, themselves ‘generators of new ritual manifestations, specific to modern times’ (Coman \u003Ca class=\"xref bibr\" href=\"#REFe-r-055\" data-sectionId=\"#REFe-r-055\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Coman\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E:9), have the capacity to amplify public participation or the prestige of the artist or the ‘hit’. Hence, popular song itself can be seen as mass communication.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe decade from 1975 to 1985 was a period of relative musical effervescence: each ethnic group (so to speak) ‘modernised’ its traditional music, translating it into the codes of a synthetic musicality underway in the public arena. This can be seen as the real beginning of Ivorian musical synthesis. The music was rejuvenated, ‘intellectualised’, and ‘curiously’ popularised. Despite the limited resources of a Côte d’Ivoire in the throes of a major economic crisis, there was hope of an improvement in living conditions and integration into the economic fabric.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EWondji (\u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E) speaks of the development of music from all the regions of Côte d’Ivoire, which will have their own modern singers. In short, the culture disseminated by the \u003Cem class=\"italic\"\u003Emass media\u003C\u002Fem\u003E is becoming a consumer good, and the value of an artist tends to be gauged by the extent of his media coverage or his share of \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Evoice; the risk lies in the fact that the nature of these cultural objects can be altered as soon as they are ‘modified – rewritten, condensed, digested, reduced to the state of junk for reproduction or image’ (Arendt \u003Ca class=\"xref bibr\" href=\"#REFe-r-008\" data-sectionId=\"#REFe-r-008\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Arendt\u003C\u002Fspan\u003E1972\u003C\u002Fa\u003E[2005]:265), culture being destroyed in order to engender leisure.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe development of modern popular urban music in Côte d’Ivoire inevitably took place in the burgeoning city, the urbanisation and metropolisation of Abidjan (the country’s economic capital). Abidjan was trying to compete with Kinshasa in terms of atmosphere, the good life – a world of resourcefulness in which, all things considered, social success was possible. Ivorian cities changed a great deal between the post-war years and the time of this study, over a period of seventy years (see Kipré, \u003Ca class=\"xref bibr\" href=\"#REFe-r-106\" data-sectionId=\"#REFe-r-106\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kipré\u003C\u002Fspan\u003E1985\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-105\" data-sectionId=\"#REFe-r-105\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kipré\u003C\u002Fspan\u003E1986\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-107\" data-sectionId=\"#REFe-r-107\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kipré\u003C\u002Fspan\u003E1975\u003C\u002Fa\u003E). Abidjan is becoming a metropolis, or is in the midst of a process of metropolisation (Bassand \u003Ca class=\"xref bibr\" href=\"#REFe-r-029\" data-sectionId=\"#REFe-r-029\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bassand\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E). Abidjan is undergoing major restructuring. It is characterised by its sprawl, ‘encouraging the redeployment of social segregation and specialisation, even ghettoisation, in a kind of “systematic functional specialisation of the land” bringing together more or less homogenous types of activity in specific areas (i.e. business district, administrative district, shopping district, residential district, “dormitory” district, etc.)’ (Bassand \u003Ca class=\"xref bibr\" href=\"#REFe-r-029\" data-sectionId=\"#REFe-r-029\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bassand\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E:34). Phenomena of ‘sub-urbanisation’ and ‘periubarnisation’, emptying urban centres of the middle social classes, are developing at the same time as a kind of infra-urbanisation characterised by spontaneous informal housing on undeveloped sites (Bassand \u003Ca class=\"xref bibr\" href=\"#REFe-r-029\" data-sectionId=\"#REFe-r-029\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bassand\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E:34). With metropolisation, a ‘systematic disconnection between space and time is taking place, amplifying the fragmented lives of metropolitan dwellers’.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E Metropolisation greatly accentuates individualism and individuation, while easing certain social constraints (Bassand \u003Ca class=\"xref bibr\" href=\"#REFe-r-029\" data-sectionId=\"#REFe-r-029\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bassand\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E:37). The situation in which these musicians evolve and urban music develops is that of ‘metropolity’ (Bassand \u003Ca class=\"xref bibr\" href=\"#REFe-r-029\" data-sectionId=\"#REFe-r-029\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bassand\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E:37). This neologism refers to the new forms and modes of sociability that are emerging and developing in metropolitan environments. They are characterised by the affirmation of individual autonomy. One of these new modes of sociability is ‘networked sociality’, the advantage of which is that it combines maximum connectivity and autonomy in a highly flexible way (Bassand \u003Ca class=\"xref bibr\" href=\"#REFe-r-029\" data-sectionId=\"#REFe-r-029\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bassand\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E:37). This concept thus refers to the local and the global, two metropolitan horizons that are articulated in the concept of \u003Cem class=\"italic\"\u003Eglocal\u003C\u002Fem\u003E. \u003Cem class=\"italic\"\u003EGlocality\u003C\u002Fem\u003E is therefore an important aspect of metropolity (Bassand \u003Ca class=\"xref bibr\" href=\"#REFe-r-029\" data-sectionId=\"#REFe-r-029\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bassand\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E:38). Social and cultural diversity is seen as an asset rather than a threat, and this implies changes in the socialisation and integration of foreigners in the metropolis (Bassand \u003Ca class=\"xref bibr\" href=\"#REFe-r-029\" data-sectionId=\"#REFe-r-029\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bassand\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E:38). In this configuration, particularly with courtyard housing, the neighbourhood becomes very important and is a player that tends to supplant the family.\n\u003C\u002Fp\u003E\u003Cdiv class=\"disp-quote\"\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EAs a social space for artistic practices, the city becomes the place for social practices of representation and cultural mediation. The city will become what we might call the natural space for the emergence and development of artistic activity, in other words, an activity of communication and representation that only has meaning and consistency if it is exercised in the public space.\u003C\u002Fp\u003E\u003Cdiv class=\"attrib\"\u003E(Lamizet \u003Ca class=\"xref bibr\" href=\"#REFe-r-118\" data-sectionId=\"#REFe-r-118\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Lamizet\u003C\u002Fspan\u003E2002\u003C\u002Fa\u003E:62)\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003Cp class=\"p\"\u003EThe relationship between the global and the local, the rural and the urban, often leads to dead-ends – as repulsive points rather than poles of attraction. The ‘glocal’ thus seems to be more operative in the reality created by the globalisation movement. Rurbanity is linked to glocality in the same place, in the same rental location. In our view, the nuance between rurbanity and glocality is a question of scale. In such an ambiguous space, we postulate that the individual, the atom of action, does not live alone in the world, no longer lives alone in the world, but belongs to a network and therefore belongs to the glocal. However, in our view, the individual, or actor-network (Latour \u003Ca class=\"xref bibr\" href=\"#REFe-r-119\" data-sectionId=\"#REFe-r-119\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Latour\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E), does not cancel out the individual’s individuality and active role. Music is a perfect illustration of the malleability of the globalised world, in which distance does not cancel out the possibility of hybridisation, of appropriation of new sounds, of ‘cross-fertilisation’, and which ‘makes all kinds of local appropriations and alterations possible, largely facilitated by a certain attenuation of the language barrier’ (Bonniol \u003Ca class=\"xref bibr\" href=\"#REFe-r-040\" data-sectionId=\"#REFe-r-040\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bonniol, Abou and Haddad\u003C\u002Fspan\u003E1999\u003C\u002Fa\u003E:321).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe newly independent state, despite its efforts to raise itself to the level of the most advanced peoples in the world, had difficulty satisfying the ‘cultural needs’ of its people. Popular song took on the task of filling this gap ‘by expressing the aspirations of the popular masses for greater freedom, justice, solidarity and social progress. By promoting national languages and knowledge of the past, it testifies to the desire for cultural and linguistic resourcefulness that should enable the real achievement of national independence’ (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E:21).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EWith ‘the modernisation of orchestras and … the contribution of foreign musical styles’, Ivorian popular music experienced a real boom marked by ‘interference and syncretism’ (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E:22). There is constant communication between town and country, and in particular intense artistic communication. Town and country are no longer discriminating criteria. Moreover, the difference between rural popular music and urban popular music is becoming so tenuous that its heuristic (ontological) utility is questionable. ‘The syncretism of themes, musical techniques and rhythms reveals the intensity of urban-rural exchanges, which contribute to the fragmentation of the spaces and audiences of [popular] song, and attest to the desire for cultural\u002Fartistic revival’ (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E:22). But all popular singers (rural or urban) are subject to the laws of the market.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EThe structural adjustment plans of the 1980s, and the disastrous progress of the globalisation of economic liberalism, against a backdrop of weakening developmentalist and modernising ideologies, have laminated a fragile and relatively unstable Ivorian society. It is no longer the role of the weakened State to modernise the country and its people by combating ‘traditions’ that are synonymous with atavism, obscurantism, underdevelopment and so on. On the contrary, the state is going to encourage these ‘traditions’ and tend to ‘heritage them as “regional” or “ethnic” components of a “national identity’’’ (Bazin \u003Ca class=\"xref bibr\" href=\"#REFe-r-031\" data-sectionId=\"#REFe-r-031\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bazin\u003C\u002Fspan\u003E2014\u003C\u002Fa\u003E:17). ‘Traditions’ are no longer opposed to ‘modernity’, he explains. On the contrary, the latter (modernity) passes through ‘traditions’. This certainly encourages the blending of these two diffuse ‘entities’. This mix of traditional and modern music is expressed in places where musical groups once described as ‘typical’ perform regularly. Yopougon became a mecca for night-time festivities. In the early 1980s, Côte d’Ivoire was home to major public concerts in stadiums.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe rise of the \u003Cem class=\"italic\"\u003Emass media\u003C\u002Fem\u003E plays a very important role in the dissemination of popular culture. Popular culture is ‘a space in movement whose centres of development evolve according to historical periods’ (Mouchtouris \u003Ca class=\"xref bibr\" href=\"#REFe-r-144\" data-sectionId=\"#REFe-r-144\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mouchtouris\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:42). In many respects, independent, post-colonial Côte d’Ivoire resembled a cultural crossroads where the Ivorians’ own voice, or originality and musical specificity, was in short supply. This is also part of what, in all likelihood, forms the basis of the alibi for the quest for an identity of one’s own: Ivoirité – which is at the same time a political struggle\u002Frevindication (Bahi \u003Ca class=\"xref bibr\" href=\"#REFe-r-016\" data-sectionId=\"#REFe-r-016\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bahi\u003C\u002Fspan\u003E2013\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThis period in Ivorian history saw a particular emphasis on the importance of ‘development’ – a veritable ideology that affected all sectors and ‘compartments’ of society: media for development, journalism for development, culture for development, starting with the education sector for development (cf. the experience of school and out-of-school television). Reflections and debates on the loss of traditional values in favour of Western values, cultural alienation and cultural domination are lively and often corrosive, based on the (Marxist) principle that the culture of the dominant classes is (\u003Cem class=\"italic\"\u003Ede facto)\u003C\u002Fem\u003E the dominant culture (cf. Touré \u003Ca class=\"xref bibr\" href=\"#REFe-r-199\" data-sectionId=\"#REFe-r-199\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Touré\u003C\u002Fspan\u003E1981\u003C\u002Fa\u003E). Ivorian song, still embryonic and weak, seemed to have a compromised future, given that Ivorian youth were expected to lose their (traditional) culture because they were ‘entirely under the yoke of American fashion in terms of music, dance, and sometimes even speech, in a word, the American way of life’ (Ouattara \u003Ca class=\"xref bibr\" href=\"#REFe-r-160\" data-sectionId=\"#REFe-r-160\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Ouattara\u003C\u002Fspan\u003E1985\u003C\u002Fa\u003E:84). These reflections on the alienation of the dominant culture, on the influence of African Americans on young Ivorians, in short on the development of the country that had gone astray in the form of westernisation, fit in with the myths, mythologies and contradictory developmentalist imaginary in which the period was immersed. In the mid 1980s, \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Ehowever, alongside this North American influence, Ivorian music was developing at its own pace, incorporating influences from all over.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EAny individual or collective creation is ‘permanently shaped by a collective expectation’, and we can bet that musical artists know how to ‘respond to a society’s horizon of expectations by capturing in a work the latent but active myths of that society’ (Walter 2011:44). However, in the face of well-founded fears and the real risk of losing this ‘traditional’ or ‘authentic’ Ivorian culture, something new came into being: the 1990s were to give rise to new and innovative musical genres (forms), synthetic and ‘syncretic’, such as \u003Cem class=\"italic\"\u003Eziguéhi\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Ezoblazo\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Ezouglou\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Ezogoda,\u003C\u002Fem\u003E and so on, which were to be the first to be developed in the Ivorian music scene.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe 1990s saw the specialisation or ‘thematisation’ of the mass media, and the accentuation of musicalisation. They also saw a new effervescence brought about by the winds of liberalisation blowing around the world, at a time when pop culture and an American ‘counter-culture’ were being globalised, widely exploited, marketed and disseminated across the Atlantic. The role of the mass media in the rise of popular music is fundamental. Radio stations (private commercial radio stations, state radio stations, community radio stations) broadcast a lot of music because they were aimed at young audiences with an appetite for music, and their programmes were adapted to young people’s tastes (Tudesq \u003Ca class=\"xref bibr\" href=\"#REFe-r-201\" data-sectionId=\"#REFe-r-201\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tudesq\u003C\u002Fspan\u003E2002\u003C\u002Fa\u003E:185–186). Ivorian television has also been won over by this musicalisation and is trying to maintain the memory of the music, dance and atmosphere of yesteryear – a past that is ultimately that of colonial times.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EWe are therefore also witnessing the emergence of ‘another’ trend. Local music is being translated into Western musical codes. Local rhythms are ‘modernised’ (reconstituted, reconfigured, reinterpreted) and reproduced with modern Western instruments. \u003Cem class=\"italic\"\u003ERock’n’roll\u003C\u002Fem\u003E and \u003Cem class=\"italic\"\u003Epop\u003C\u002Fem\u003E music, on the other hand, are sung in local languages and even give rise to local styles. ‘Urban culture differs from village culture in that the city is a place of mixing, contact, exchange, communication and intense cultural production that feeds off village agricultural surpluses’ (Warnier \u003Ca class=\"xref bibr\" href=\"#REFe-r-211\" data-sectionId=\"#REFe-r-211\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Warnier\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:20). This is so true that the city even exerts an attraction on people, young people in particular; an attraction that has become a social problem addressed by state propaganda (communication).\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"A-sec-7\" data-magellan-destination=\"A-sec-7\"\u003E\u003Ch3 class=\"A title\"\u003E\u003Cspan class=\"label\"\u003E3\u003C\u002Fspan\u003E The \u003Cem class=\"italic\"\u003EMusicscape\u003C\u002Fem\u003E of the Multiparty Years \u003C\u002Fh3\u003E\u003Cp class=\"p\"\u003EThe globalisation of the flow of cultural goods favours the creation of popular music. The rise of modern popular music is first and foremost dependent on the network of maritime exchanges and communications on the Atlantic coast of Africa, part of the Euro-American world-system. Taken as a whole, modern \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Epopular music appears to be a ‘melting pot of contextual and fluctuating identifications’ (Warnier \u003Ca class=\"xref bibr\" href=\"#REFe-r-211\" data-sectionId=\"#REFe-r-211\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Warnier\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:9). Thinking about modern popular music requires us to go beyond or abandon the category of ethnicity, of terr(it)oir(e) [of the limitation of the terroir and the delimitation of the territory], of the local (Appadurai \u003Ca class=\"xref bibr\" href=\"#REFe-r-007\" data-sectionId=\"#REFe-r-007\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Appadurai\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E), of the petrified identity, presupposing a homogeneous, sumptuous [luxuriant] and independent (ethnic) culture, threatened with extinction [with disappearance] under the hegemonic (and ‘culturophagous’) effect of Western culture (or, in more contemporary terms, of globalisation).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EBy looking inside the ‘spheres of interaction’ or ‘world systems’ (Warnier \u003Ca class=\"xref bibr\" href=\"#REFe-r-211\" data-sectionId=\"#REFe-r-211\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Warnier\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:23–24) of interconnected communities, we can understand how modern popular music has developed into the \u003Cem class=\"italic\"\u003Emusicscape of\u003C\u002Fem\u003E today. A concept forged for the purposes of this study, the \u003Cem class=\"italic\"\u003Emusicscape\u003C\u002Fem\u003E appears both as a component of the \u003Cem class=\"italic\"\u003Esoundscape\u003C\u002Fem\u003E (Murray Schafer \u003Ca class=\"xref bibr\" href=\"#REFe-r-145\" data-sectionId=\"#REFe-r-145\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Murray Schafer\u003C\u002Fspan\u003E1979[2010]\u003C\u002Fa\u003E) and as a sub-category of \u003Cem class=\"italic\"\u003Emediascapes\u003C\u002Fem\u003E (Appadurai \u003Ca class=\"xref bibr\" href=\"#REFe-r-007\" data-sectionId=\"#REFe-r-007\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Appadurai\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E). However, it should not imply an idea of statism or obliterate the idea of ‘circulation’. Rather, from now on it should be used to account for this (luxuriant) landscape of ever-mixing genres and styles, and to escape the gaping trap of musical ethnicity.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003ECôte d’Ivoire has willy-nilly embraced globalisation, of which the development of cities is one of the effects. The distinction between rural and urban is becoming even less clear-cut, but is still substantial. In many cases, the village remains the place of ontological identification and the first refuge. From this perspective, the Ivorian city, which has undergone an extraordinary transformation, is no longer a ‘foreign cyst’, ‘an island of European modernity in a hostile environment’ (Piermay \u003Ca class=\"xref bibr\" href=\"#REFe-r-167\" data-sectionId=\"#REFe-r-167\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Piermay\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E:45). It is undergoing continuous change, but this does not mean that it is losing its links with the village. On the contrary, complex relationships are being established between the rural and urban worlds, between the city and the village of origin, and in this in-between area, people are ‘developing complex strategies to make the most of various opportunities’ (Piermay \u003Ca class=\"xref bibr\" href=\"#REFe-r-167\" data-sectionId=\"#REFe-r-167\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Piermay\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E:40). The city is therefore no longer seen as a predator or destroyer of African society, but as one of the places where it is constructed, in short from the point of view of the significant role it plays in the (re)production of society [of the social] (Piermay \u003Ca class=\"xref bibr\" href=\"#REFe-r-167\" data-sectionId=\"#REFe-r-167\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Piermay\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E:35). The (African) city is a lush environment, and its actors reflect its changes, challenges and diversity (Piermay \u003Ca class=\"xref bibr\" href=\"#REFe-r-167\" data-sectionId=\"#REFe-r-167\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Piermay\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E:40): ‘Formal and informal, modernity and heritage, Western technology and witchcraft, etc., all play a complex role in the construction of the African city’ (Piermay \u003Ca class=\"xref bibr\" href=\"#REFe-r-167\" data-sectionId=\"#REFe-r-167\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Piermay\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E:42). Despite all kinds of difficulties, the city remains a place of contact and exchange: a place of hybridisation, ingenuity and invention – a place of creation (creativity), where the unprecedented (the new, the unexpected) and the unusual (the bizarre, the baroque) emerge. The very creation of music is linked to the city: ‘Music depends on the city, its moods and its scenes of life; it is like a second life of the \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Ecity; it captures and interprets the whims, trends, fashions and customs that develop in the city, translating them into its own language’ (Gondola \u003Ca class=\"xref bibr\" href=\"#REFe-r-089\" data-sectionId=\"#REFe-r-089\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gondola\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E:112).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe musical milieu is seen as one of these teeming fields, and music is part of these bricolages, these links and these opportunities in a city that is seen here ‘in terms of invention, that is to say, of unexpected and baroque assemblages that make it possible to provide a response to the innumerable problems encountered’ (Piermay \u003Ca class=\"xref bibr\" href=\"#REFe-r-167\" data-sectionId=\"#REFe-r-167\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Piermay\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E:45). The unexpected developed in this teeming environment. The modernisation sought by the fathers of independence accelerated, bringing with it industrialisation, cultural industries, and a distinction between cultivated culture and popular culture (Caune \u003Ca class=\"xref bibr\" href=\"#REFe-r-052\" data-sectionId=\"#REFe-r-052\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Caune\u003C\u002Fspan\u003E1995\u003C\u002Fa\u003E), opposing a westernised, ‘modern’ culture on the one hand and a ‘traditional’ African culture on the other, determining the manufacture and market of cultural products. The rise of the mass media has led to the popularisation and massification of music. The trend towards the musicalisation of radio has been accentuated by the specialisation of this medium. This musicalisation has also taken hold on television, which has also been affected by the beginnings of ‘thematisation’, while being reinforced by dance and music videos. Music is now seen as a commodity, viewed from a marketing perspective with hyperspecialised agents embedded in a complex (commercial) economic system.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EWith the reintroduction of a multiparty system in 1990, the freedom of speech also liberated popular song. The ‘galère’, the horizontality of misery, was no longer hidden away, but sung and broadcast over the airwaves. \u003Cem class=\"italic\"\u003EZouglou was\u003C\u002Fem\u003E born of a synthesis of local rhythms, while taking up the traditional singer’s role as truth-teller, conscientious objector, ideological and moral sentinel of society.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe aspirations and needs of these young people have exploded – increased – in the space of two generations. The liberalisation brought about by the introduction of a multi-party system and the development of the media have, in theory, made it possible for young people to express themselves. For all that, the habits inherited from three decades of a single party did not suddenly change. This decade, the dawn of the third millennium, also saw the emergence of a consumer society and major political tensions. The combined effects of the (neo)liberal economic option and democratisation are reflected in the current diversity of music in Côte d’Ivoire. Modern urban popular music is developing and becoming more democratic. Modern popular music is increasingly asserting itself as a media form – as a medium understood here in a broad sense (Weaver \u003Ca class=\"xref bibr\" href=\"#REFe-r-214\" data-sectionId=\"#REFe-r-214\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Weaver, Shannon and Weaver\u003C\u002Fspan\u003E1949\u003C\u002Fa\u003E:95), fulfilling the same functions as other, more ‘classical’ urban media.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe 2000s were certainly the years when \u003Cem class=\"italic\"\u003Ezouglou\u003C\u002Fem\u003E exploded onto the national scene. At the same time, criticism became more open, protest became more explicit and grumbling became more thunderous. \u003Cem class=\"italic\"\u003EZouglou was not the\u003C\u002Fem\u003E only music to speak out. Reggae preceded it, albeit in a more allusive tone, by taking \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Ethe liberty of questioning political leaders about the political drift of Ivorian politics. Popular music has been marked by the Ivorian crisis, particularly the paroxysmal one that erupted in September 2002 (Bahi \u003Ca class=\"xref bibr\" href=\"#REFe-r-017\" data-sectionId=\"#REFe-r-017\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bahi and Akindès\u003C\u002Fspan\u003E2011\u003C\u002Fa\u003E). More than ever, the figure of the popular singer as political flagship is taking shape.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMeanwhile, the \u003Cem class=\"italic\"\u003EDisc Jockey\u003C\u002Fem\u003E (DJ) phenomenon, made possible by the combined effect of advances in music technology, the spread of the internet and globalisation, is spreading throughout Côte d’Ivoire among musicians and technicians. Ivorian DJs, also following the global movement and spreading to Côte d’Ivoire, are leaving the maquis or \u003Cem class=\"italic\"\u003Enightclubs\u003C\u002Fem\u003E they used to run to make their own albums (audio phonic cassettes and compact discs) and give shows and live concerts, thus becoming artists in their own right, veritable \u003Cem class=\"italic\"\u003Eshow business\u003C\u002Fem\u003E stars.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe 2000s also saw the explosion of the coupé décalé phenomenon which, like disco, is dance music for fun, where the only thing that counts is the ‘\u003Cem class=\"italic\"\u003Eshow\u003C\u002Fem\u003E’, the ‘atmosphere’, the hedonism, the ‘racket’, and so on (Kolé \u003Ca class=\"xref bibr\" href=\"#REFe-r-109\" data-sectionId=\"#REFe-r-109\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kolé\u003C\u002Fspan\u003E2023\u003C\u002Fa\u003E). He seems to be deliberately turning his back on a ‘tradition’ of Ivorian (or even African) singers that seems to have its origins in traditional music, leaving aside the function of ‘ideological and moral sentinel’ (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-219\" data-sectionId=\"#REFe-r-219\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986b\u003C\u002Fa\u003E), and does not consider consciousness-raising to be important. Music is no longer intentionally a medium for delivering educational, moralising and other messages.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMany musical genres are doomed to an ephemeral existence. Against all the odds, \u003Cem class=\"italic\"\u003Ecoupé décalé\u003C\u002Fem\u003E seems to be settling in, forming with \u003Cem class=\"italic\"\u003Ereggae\u003C\u002Fem\u003E and \u003Cem class=\"italic\"\u003Ezouglou\u003C\u002Fem\u003E the troika of modern Ivorian popular music. \u003Cem class=\"italic\"\u003ECoupé décalé\u003C\u002Fem\u003E even completes the affirmation of a young music and (sub)culture. The deaths of its messianic figures – Douk Saga, the founder, and DJ Arafat, the emblematic figure – were presented by the media and experienced by many young people as national mourning.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E‘Rurbanity’ and ‘glocality’, because they combine to give rise to new cultural forms and practices, are at the beginning and the end of the phenomenality of modern popular music. Modern popular music radiates with the unfolding urban space and the changing world of mixing and exchange. It does not develop in a vacuum, but according to a principle of cultural and political transformation that includes circulatory movements of people, ideas and objects between African and American creative centres (Feld \u003Ca class=\"xref bibr\" href=\"#REFe-r-079\" data-sectionId=\"#REFe-r-079\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Feld\u003C\u002Fspan\u003E1988\u003C\u002Fa\u003E) and, more broadly, from Africa to the (rest of) the world via its diaspora and vice versa (Zeleza \u003Ca class=\"xref bibr\" href=\"#REFe-r-224\" data-sectionId=\"#REFe-r-224\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Zeleza\u003C\u002Fspan\u003E2005\u003C\u002Fa\u003E: 220; Gilroy \u003Ca class=\"xref bibr\" href=\"#REFe-r-084\" data-sectionId=\"#REFe-r-084\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gilroy\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E; Martin \u003Ca class=\"xref bibr\" href=\"#REFe-r-130\" data-sectionId=\"#REFe-r-130\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Martin and Bob\u003C\u002Fspan\u003E2012\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EDuring the single party era, the \u003Cem class=\"italic\"\u003Emass media\u003C\u002Fem\u003E (notably radio and television) played a decisive role in promoting Ivorian music. As part of their public service remit, they programmed musicians from all regions of the country, out of a concern for regional cultural balance and respect for Côte d’Ivoire’s cultural diversity. They have been able to serve as a launch pad for young talents such as Alpha Blondy.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EAs a living art form, music appealed to audiences because it met their aspirations and expectations, but also and above all because of its ability ‘to draw on local or regional heritage, integrating external contributions including those of colonisation, and indebted to ‘imagination, rural exodus and the influences of international media’ (Doua \u003Ca class=\"xref bibr\" href=\"#REFe-r-068\" data-sectionId=\"#REFe-r-068\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Doua\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E:6). This is what terms such as ‘tradi-moderne’ or ‘afropop’ refer to. The latter sometimes refers to contemporary African popular music, or African pop. It is characterised by a fusion of American and African popular music, sounds and dances. The artist-musician Meiway is a perfect illustration of this. But in reality, these names hide a major difficulty in characterising musical genres and styles. Pablo de Gokra, for example, follows in the footsteps of Amédée Pierre, who in turn follows in the footsteps of the ‘traditional’ singer \u003Cem class=\"italic\"\u003Etohourou\u003C\u002Fem\u003E.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIf we go back as far as possible in the history of Côte d’Ivoire, we can see that the development (expansion, amplification, growth) of modern popular music (including urban music) was made possible by maritime trade in the context of urban development. The COVID-19 pandemic demonstrated the weaknesses (vulnerability) of sub-Saharan African cities, with their somewhat chaotic urbanisation, uneven infrastructure and lush informal settlements. But this period was also a good one for music on the Internet, as demonstrated by the \u003Cem class=\"italic\"\u003EJerusalema\u003C\u002Fem\u003E phenomenon that has conquered the planet. Modern popular music is therefore emerging from a lush urban culture, while at the same time being dependent on technological inventions and innovations in the world of music itself, and in the mass media and (tele)communications in general. Its industrial production and distribution is amplified by the effects of globalisation. Marketing segmentations – such as \u003Cem class=\"italic\"\u003Eworld music\u003C\u002Fem\u003E, ‘urban music’, etc. – do not seem to be very productive for grasping the abundance and complexity of modern popular music.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe analysis of popular music generally remains dependent on a very fixed approach to the largely dominant colonial reality. Colonialism itself caricatured the differences and reinforced the borders (initially physical when it did not create them) between peoples in the imagination. But the cultural links between peoples have not changed as a result of this caricatured structuring of differences between peoples. The conditions for the deployment of modern popular music are captured in the pairs of tensions local\u002Fglobal and urban\u002Frural, which are subsumed in the glocal\u002Frural pair. We need to take account of the consequences of globalisation, including democratisation, the opening up of societies, their trans-locality and so on. The current \u003Cem class=\"italic\"\u003Emusicscape\u003C\u002Fem\u003E is therefore the result of interactions (between) town and country, and not of a rupture between the two, but of a labile and productive rurbanity on the one hand. At the same \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Etime, on a (much) more macro scale, it is the product of the global\u002Flocal tension, whose respective feedback loops produce effects on both the local and the global, and which the neologism ‘glocal’ attempts to capture.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EBefore analysing popular music as an act of cultural mediation, it is important to analyse the forms and acts of communication (mediation) that occur within it, and to pay particular attention to the processes of identification and social belonging that are at work. But first, it seems desirable and necessary to enter the world of Ivorian music, to infiltrate the places and figures of its production in order to understand how this medium functions.\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"A-sec-8\" data-magellan-destination=\"A-sec-8\"\u003E\u003Ch3 class=\"A title\"\u003E\u003Cspan class=\"label\"\u003E4\u003C\u002Fspan\u003E Poietics of Musical Art in Abidjan \u003C\u002Fh3\u003E\u003Cp class=\"p\"\u003EThis chapter examines the ‘making’ (or ‘creation’) of music by ‘young’ musicians aspiring to stardom on the basis of in situ observations in performance venues (recording studios). Drawing firmly on the work of Jean-Pierre Warnier (\u003Ca class=\"xref bibr\" href=\"#REFe-r-211\" data-sectionId=\"#REFe-r-211\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Warnier\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E) and Victor Turner (\u003Ca class=\"xref bibr\" href=\"#REFe-r-204\" data-sectionId=\"#REFe-r-204\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Turner\u003C\u002Fspan\u003E1988\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-205\" data-sectionId=\"#REFe-r-205\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Turner\u003C\u002Fspan\u003E1969[1997]\u003C\u002Fa\u003E), it follows as far as possible the lineaments of the poietics or fabrication of popular music in order to grasp the springs of originality and\u002For authenticity. The topical object of poietics in art is strictly the study of the process of creating the work: ‘Poietics is less concerned with the artist’s affects than with the dynamic lineaments, voluntary or involuntary, that link him to the work in progress. In short, its object is the \u003Cem class=\"italic\"\u003Epoiesis\u003C\u002Fem\u003E that confronts the creator with his project, and not the \u003Cem class=\"italic\"\u003Eaisthesis\u003C\u002Fem\u003E that he may experience in his action, or arouse by it’ (Passeron \u003Ca class=\"xref bibr\" href=\"#REFe-r-164\" data-sectionId=\"#REFe-r-164\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Passeron\u003C\u002Fspan\u003E1999\u003C\u002Fa\u003E:269–270).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003ECreative behaviour presupposes the acquisition of knowledge and know-how, and requires the investment of physical space and the use of devices and technical and technological artefacts. The aim of the poietic study is therefore first and foremost to identify the ‘techniques’, the ‘poietic strategies’ that have guided the making of the work (Molino \u003Ca class=\"xref bibr\" href=\"#REFe-r-142\" data-sectionId=\"#REFe-r-142\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Molino\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E; Nattiez \u003Ca class=\"xref bibr\" href=\"#REFe-r-146\" data-sectionId=\"#REFe-r-146\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nattiez\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E) and to identify the compositional ‘ideas’, the harmonic structures (the chords), the tools (instruments, digital interfaces, computer, etc.), the work in rehearsal, in the studio, and so on. In short, it is a question of keeping track of the ‘techniques’, the ‘poietic strategies’ that have guided the making of the work (Molino \u003Ca class=\"xref bibr\" href=\"#REFe-r-142\" data-sectionId=\"#REFe-r-142\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Molino\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E; Nattiez \u003Ca class=\"xref bibr\" href=\"#REFe-r-146\" data-sectionId=\"#REFe-r-146\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nattiez\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E). In short, it’s a question of taking into account ‘everything that was important (material, technical, procedural, relational, communicational, somatic, mental, imaginary, fantastical, etc.) for the creator(s) at the moment of creating the work’ (Forest \u003Ca class=\"xref bibr\" href=\"#REFe-r-080\" data-sectionId=\"#REFe-r-080\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Forest\u003C\u002Fspan\u003E2013\u003C\u002Fa\u003E:12). In short, we are talking about a whole range of elements that are necessary for musical practices and the making of modern popular music, and which condition the skills and performances (performativity) of the creative process and creation itself. Whatever the type of artistic practice, poietics is understood as ‘an experiential approach to the dynamic processes at work in \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Ethe creation of a work’ (Paillé \u003Ca class=\"xref bibr\" href=\"#REFe-r-162\" data-sectionId=\"#REFe-r-162\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Paillé\u003C\u002Fspan\u003E2004\u003C\u002Fa\u003E:11). Poietics therefore refers us to a kind of anthropology of creation – of artistic production – that focuses more on the relationship between the artist and his work than on the artist himself, in his creative space (studio, rehearsal room, etc.) and his experience of this (these) space(s) (Goffman \u003Ca class=\"xref bibr\" href=\"#REFe-r-088\" data-sectionId=\"#REFe-r-088\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Goffman\u003C\u002Fspan\u003E1991\u003C\u002Fa\u003E). This requires the researcher (i) to take an interest in the acquisition of artistic and musical knowledge (and know-how), that is, in training, and (ii) to enter the music-making workshop, because ‘in truth the place of art is first and foremost the workshop’ (Passeron \u003Ca class=\"xref bibr\" href=\"#REFe-r-164\" data-sectionId=\"#REFe-r-164\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Passeron\u003C\u002Fspan\u003E1999\u003C\u002Fa\u003E:274).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EAnother aspect of the history and transformation of modern popular music in Côte d’Ivoire is thus outlined. The historicisation of amplified popular music is a difficult undertaking because, in addition to the lack of reliable sources, it is undermined by the (marketing) cleavages of genres, the journalistic expertise of music critics, the territorial divisions of academic research and interdisciplinary ‘competition’ (Gibert & Leguern \u003Ca class=\"xref bibr\" href=\"#REFe-r-083\" data-sectionId=\"#REFe-r-083\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gibert and Leguern\u003C\u002Fspan\u003E2008\u003C\u002Fa\u003E). Indeed, ‘the workshop, studio or mixing room are places that are as physical as they are mental, material as they are experiential, technical as they are aesthetic’ (Forest \u003Ca class=\"xref bibr\" href=\"#REFe-r-080\" data-sectionId=\"#REFe-r-080\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Forest\u003C\u002Fspan\u003E2013\u003C\u002Fa\u003E:9). These contemporary creators of popular music are attentive to their popular African heritage. They create with a compositional ethos that values, respects and even venerates this heritage. While admitting foreign influences, the quest for originality does not radically change this heritage (Agawu \u003Ca class=\"xref bibr\" href=\"#REFe-r-003\" data-sectionId=\"#REFe-r-003\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Agawu\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E:206, 295).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMaking music also requires equipment and infrastructure. The Ivorian music scene is characterised by a lack of musical infrastructure and a shortage of musical instruments and accessories. Many musicians, apart from the fact that they have few financial resources, are faced with questions that are difficult to resolve: where can they find guitar strings, bass strings, drumsticks, drum heads, and other parts at reasonable prices? Where and how can you get good instruments (well-made and fair) at a good price? Apart from Catholic or evangelical churches, and the rare orchestras that are subsidised or financed by patrons, and which make instruments of various qualities available to musicians, it’s a case of finding your own way – and that starts with training.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EBergson (\u003Ca class=\"xref bibr\" href=\"#REFe-r-036\" data-sectionId=\"#REFe-r-036\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bergson\u003C\u002Fspan\u003E1936\u003C\u002Fa\u003E) thought that the artist is capable of perceiving, and in a way translating, what the \u003Cem class=\"italic\"\u003Evulgum pecus\u003C\u002Fem\u003E cannot always grasp. In the Bété worldview (for example), precociousness is perfectly understandable, because art, and music in particular, is considered to be a gift and is innate; it runs in the family, so to speak, and the artist is predestined (Séry \u003Ca class=\"xref bibr\" href=\"#REFe-r-190\" data-sectionId=\"#REFe-r-190\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Séry\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E:53, 102). But the artist’s technical training, whether inherited or received from a master, remains important and necessary. This is how the ‘traditional’ griot has survived the centuries and adapted to social change (Niane \u003Ca class=\"xref bibr\" href=\"#REFe-r-150\" data-sectionId=\"#REFe-r-150\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Niane\u003C\u002Fspan\u003E1960\u003C\u002Fa\u003E; Laye \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Ca class=\"xref bibr\" href=\"#REFe-r-122\" data-sectionId=\"#REFe-r-122\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Laye\u003C\u002Fspan\u003E1978\u003C\u002Fa\u003E; Sadji \u003Ca class=\"xref bibr\" href=\"#REFe-r-183\" data-sectionId=\"#REFe-r-183\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Sadji\u003C\u002Fspan\u003E1985\u003C\u002Fa\u003E; Cissé & Kamissoko \u003Ca class=\"xref bibr\" href=\"#REFe-r-053\" data-sectionId=\"#REFe-r-053\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Cissé and Kamissoko\u003C\u002Fspan\u003E1988\u003C\u002Fa\u003E; Camara \u003Ca class=\"xref bibr\" href=\"#REFe-r-049\" data-sectionId=\"#REFe-r-049\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Camara\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E). The \u003Cem class=\"italic\"\u003Edjuésrofouè\u003C\u002Fem\u003E\u003Ca class=\"xref footnote\" href=\"#FN-fn-1\" data-sectionId=\"#FN-fn-1\"\u003E\u003Cspan class=\"show-for-sr\"\u003EFootnote \u003C\u002Fspan\u003E\u003Csup class=\"sup\"\u003E1\u003C\u002Fsup\u003E\u003C\u002Fa\u003E rhapsode baoulé (Tonton Etienno), the aède sénoufo (Zélé de Papara) or even the \u003Cem class=\"italic\"\u003Etohourou\u003C\u002Fem\u003E\u003Ca class=\"xref footnote\" href=\"#FN-fn-2\" data-sectionId=\"#FN-fn-2\"\u003E\u003Cspan class=\"show-for-sr\"\u003EFootnote \u003C\u002Fspan\u003E\u003Csup class=\"sup\"\u003E2\u003C\u002Fsup\u003E\u003C\u002Fa\u003E chansonnier bété, often presented as ‘traditional’, are in fact relatively recent inventions (Hobsbawm \u003Ca class=\"xref bibr\" href=\"#REFe-r-101\" data-sectionId=\"#REFe-r-101\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Hobsbawm, Hobsbawm and Ranger\u003C\u002Fspan\u003E2006[2012]\u003C\u002Fa\u003E) – that is, from the colonial period. These recently developed ‘traditions’ now seem centuries old, producing an effect of myth and false continuity with the past, when in reality they are more akin to dissidence from that past.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe Baule chansonnier uses (or even makes) his \u003Cem class=\"italic\"\u003Ekpaniglo\u003C\u002Fem\u003E, a tetrachord guitar imitated from the Western guitar – itself introduced into Africa by the Portuguese probably in the fifteenth century and fairly widespread in French West Africa towards the end of the nineteenth century (among others by \u003Cem class=\"italic\"\u003EKrus\u003C\u002Fem\u003E sailors). The first guitars and phonographs were introduced in Côte d’Ivoire at the beginning of the twentieth century: phonographs in particular were introduced between 1930 and 1940, and guitars from the 1940s onwards (Mazzoleni \u003Ca class=\"xref bibr\" href=\"#REFe-r-134\" data-sectionId=\"#REFe-r-134\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mazzoleni\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E). In this way, something new was created, like the naïfs (in the visual arts) inspired by this traditional world that changed so abruptly with colonisation, rather like the movie \u003Cem class=\"italic\"\u003ELes maîtres fous\u003C\u002Fem\u003E (\u003Cem class=\"italic\"\u003EThe Mad Masters\u003C\u002Fem\u003E) (Rouch \u003Ca class=\"xref bibr\" href=\"#REFe-r-179\" data-sectionId=\"#REFe-r-179\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rouch\u003C\u002Fspan\u003E1955\u003C\u002Fa\u003E) who, through this representation, reflected the new ‘civilisation’ that was taking hold.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe heritage is identifiable in the musical (poietic) work itself. The musical poietic process is linked to the musician’s training (initial and ongoing). Training (initial and ongoing), by transmitting the musician’s own musical \u003Cem class=\"italic\"\u003Etechnique\u003C\u002Fem\u003E and practice, contingent on his imagination and creative capacities, determines [limits or liberates, restricts or extends] his poietic work. Here, orality and various modes of learning rub shoulders and intermingle (Diawara \u003Ca class=\"xref bibr\" href=\"#REFe-r-063\" data-sectionId=\"#REFe-r-063\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Diawarra, Röschenthaler and Diawarra\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe apprentice musician has to face various obstacles before entering the world of music. Among the first means and places of musical training and apprenticeship are certainly the brass bands or military band orchestras. Local brass bands were probably among the first attempts to translate African music into Western musical codes, Western harmony and Western tempered instruments (Dagri \u003Ca class=\"xref bibr\" href=\"#REFe-r-058\" data-sectionId=\"#REFe-r-058\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Dagri\u003C\u002Fspan\u003E2019a\u003C\u002Fa\u003E). At the very beginning of the 1960s, the Régie Abidjan-Niger (RAN) music school attended by the children of expatriates and those of the local bourgeoisie had a certain importance in the musical training of Ivorians (Goran \u003Ca class=\"xref bibr\" href=\"#REFe-r-091\" data-sectionId=\"#REFe-r-091\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Goran\u003C\u002Fspan\u003E2011\u003C\u002Fa\u003E; Ouattara & Lasme \u003Ca class=\"xref bibr\" href=\"#REFe-r-161\" data-sectionId=\"#REFe-r-161\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Ouattara and Lasme\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E; Kanga & Goran \u003Ca class=\"xref bibr\" href=\"#REFe-r-103\" data-sectionId=\"#REFe-r-103\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kanga and Goran\u003C\u002Fspan\u003E2017\u003C\u002Fa\u003E). The National Arts Institute (INA), created in 1965, took over musical training (especially classical). Later, it was to play a certain role in Ivorian musical production, particularly in the translation of local music, as well as in the consumption of this music.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EHowever, its impact on the development of music in Côte d’Ivoire remained limited for a long time, insofar as the secondary school music teachers trained in \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Eclassical music by this establishment were transferred to schools and had few resources or opportunities for instrumental practice. They were content mainly with theoretical lessons, the results of which had little effect on their pupils’ schooling. The creation of an (African?) musicology department at the Institut national des arts (INA) in 1984 made it possible to train music education teachers (rather than musicians) for teaching in state schools. Indeed, music education is that ‘discipline which deals, on the one hand, with the teaching and learning of music and, on the other, with education in the social and cultural aspects of the sound code and noises in our world today’ (Kanga & Goran \u003Ca class=\"xref bibr\" href=\"#REFe-r-103\" data-sectionId=\"#REFe-r-103\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kanga and Goran\u003C\u002Fspan\u003E2017\u003C\u002Fa\u003E:49).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EApart from modern music schools and conservatoires, many musicians often learn music ‘on the job’, intuitively, in an oral tradition where imitation reigns supreme (Titon \u003Ca class=\"xref bibr\" href=\"#REFe-r-197\" data-sectionId=\"#REFe-r-197\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Titon and Bauman\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E:168). For those who have the means, the Internet, particularly through educational capsules, is playing an increasingly important role in training. In an amateur-style apprenticeship (Flichy \u003Ca class=\"xref bibr\" href=\"#REFe-r-077\" data-sectionId=\"#REFe-r-077\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Flichy\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E), they can acquire a few rudiments of organology, elements of theory, musical practice and a degree of technical skill or even virtuosity. These young musicians, ‘neophytes’ in a liminal phase (Van Gennep \u003Ca class=\"xref bibr\" href=\"#REFe-r-206\" data-sectionId=\"#REFe-r-206\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Van Gennep\u003C\u002Fspan\u003E1909[1981]\u003C\u002Fa\u003E:14, 27), are on the threshold of the musical field, in a situation of profane ‘liminality’ (Turner \u003Ca class=\"xref bibr\" href=\"#REFe-r-205\" data-sectionId=\"#REFe-r-205\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Turner\u003C\u002Fspan\u003E1969[1997]\u003C\u002Fa\u003E:96–97) and, as ‘liminal entities’, are subject, if not to the authority of the community, at least to that of a mentor. This means that musical training, both theoretical and practical, is often rudimentary or even non-existent if we consider the music school institution. Self-taught, then, learning on the job, knowing at best how to follow a ‘grid’, their real school is made up of listening to the genres and successes of their favourite musicians, ‘tips’ [or \u003Cem class=\"italic\"\u003E‘topos’\u003C\u002Fem\u003E or \u003Cem class=\"italic\"\u003E‘plans’\u003C\u002Fem\u003E] taken from professional musicians, or musicians they consider more advanced than themselves.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMusical training was often acquired on the job ‘in the street’ from another DIY enthusiast. ‘The bricoleur addresses a collection of residues of human works, in other words, a subset of culture’ (Lévi-Strauss \u003Ca class=\"xref bibr\" href=\"#REFe-r-125\" data-sectionId=\"#REFe-r-125\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Lévi-Strauss\u003C\u002Fspan\u003E1962\u003C\u002Fa\u003E:29). As for the artist, ‘he is both a scholar and a bricoleur’ (Lévi-Strauss \u003Ca class=\"xref bibr\" href=\"#REFe-r-125\" data-sectionId=\"#REFe-r-125\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Lévi-Strauss\u003C\u002Fspan\u003E1962\u003C\u002Fa\u003E, 33). This bricolage is not specific to Côte d’Ivoire or to Ivorian musicians. Rather, it seems to us to be a worldwide or globalised phenomenon that in truth reflects amateurism, if not on the increase, at least more visible and triumphant, facilitated by the democratisation of technology (Flichy \u003Ca class=\"xref bibr\" href=\"#REFe-r-077\" data-sectionId=\"#REFe-r-077\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Flichy\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E). One of the consequences of their limited musical training is that these musicians have a restricted and relatively closed (inward-looking) harmonic and melodic universe. This did not prevent virtuosos from appearing in their ranks. During this liminal period, a spirit of friendship developed between them. The fact that they sometimes frequent the same places of worship reinforces the spirit of camaraderie and confraternity as a prelude to full entry into the musical field and full participation in the community of musicians.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EMusic is one of those arts that you learn as you practice. There are many different places to learn, including all the places where the initiator and the initiate can put themselves in a learning situation. These spaces range from the private sphere (the bedroom) to rehearsal rooms (private paying rooms, churches, private homes, improvised spaces), recording studios and young musical groups. These youth music groups function like groups (‘small groups’) of young people or teams of artists (in this case budding artists) and, as such, are ‘microscopic shelters’, cemented together by music, where the individual, the young neophyte musician, as an individual, will play out (or commit) his or her life.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe modern folk music in question here is fundamentally unwritten. It is an oral tradition on at least two levels: (i) at the level of sources of inspiration, ancient unwritten ‘folk’ music (Zadi \u003Ca class=\"xref bibr\" href=\"#REFe-r-222\" data-sectionId=\"#REFe-r-222\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Zadi\u003C\u002Fspan\u003E1977\u003C\u002Fa\u003E); (ii) at the level of learning ‘by word of mouth’, by direct imitation; (iii) at the level of performance or interpretation of musical pieces, where the ear and memory – reproduction \u003Cem class=\"italic\"\u003Ea memoria –\u003C\u002Fem\u003E play a key role. They can then develop an expertise in the genres and stars they adore and imitate. Since the elements collected and used by DIY artists are ‘pre-stressed’ (Lévi-Strauss \u003Ca class=\"xref bibr\" href=\"#REFe-r-125\" data-sectionId=\"#REFe-r-125\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Lévi-Strauss\u003C\u002Fspan\u003E1962\u003C\u002Fa\u003E:29) and their possibilities (harmonic or even instrumental) are limited, (successful) transgression is always a sign, if not of innovation, at least of originality and the signal of a fashion, however ephemeral. Given their musical training, these singing musicians often have a DIY approach. Here the term ‘bricolage’ is used both from a theoretical (solfeggio, music theory, harmony, organology, music history, etc.) and a practical (instrumental practice and technique) point of view to describe these musically ‘illiterate’ artists – when they are not illiterate in the literal sense (Séry \u003Ca class=\"xref bibr\" href=\"#REFe-r-190\" data-sectionId=\"#REFe-r-190\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Séry\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E). They make do with what they have, ‘getting by’ as they put it themselves.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe development of modern popular music in Côte d’Ivoire also depends on ‘religious’ music. Of course, the INA and then the INSAAC (Institut national supérieur des arts et de l’action culturelle) trained many musicians for secondary schools and churches. But we must also take into account the important role played by the churches (Catholic, Protestant, Harrist, Evangelical, Pentecostal) themselves, particularly in instrumental practice, as well as in choral singing and choir training. Personal initiatives (individual or collective) by music teachers also play a part in this musical training. Until relatively recently, the (Catholic) Church extolled the beauty of liturgical chant, which was necessarily Western. It decried African worship practices and disparaged local cultural values. It was after the Second Vatican Council (1965) that ‘religious’ (Catholic) music became Africanised with the arrival of drums and clicks. Pressed onto CDs, it will be added to secular music – music for secular use – even if God is being sung. For many musicians, those looking for an outlet other than that of ‘college music teacher’, church services, ‘crusades’ and evangelisation campaigns serve to play for God (‘to give thanks’) but are also opportunities to ‘perform’ .\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EIt’s difficult to learn music without making it. Making music presupposes performance, and presupposes the ideas of realisation and behaviour (conduct): it is the (concrete) implementation of (technico-)musical (and ‘para-musical’) competence in the production of musical statements. This performance, as an act of communication and\u002For accomplishment (Bauman \u003Ca class=\"xref bibr\" href=\"#REFe-r-030\" data-sectionId=\"#REFe-r-030\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bauman and Bauman\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E:44), is most evident in rehearsal and performance or spectacle (Schechner \u003Ca class=\"xref bibr\" href=\"#REFe-r-185\" data-sectionId=\"#REFe-r-185\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Schechner\u003C\u002Fspan\u003E2008\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-186\" data-sectionId=\"#REFe-r-186\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Schechner\u003C\u002Fspan\u003E1985\u003C\u002Fa\u003E; Béhague \u003Ca class=\"xref bibr\" href=\"#REFe-r-034\" data-sectionId=\"#REFe-r-034\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Béhague and Bauman\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E:177). Self-education plays an important role in the itineraries of young musicians.\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"A-sec-9\" data-magellan-destination=\"A-sec-9\"\u003E\u003Ch3 class=\"A title\"\u003E\u003Cspan class=\"label\"\u003E5\u003C\u002Fspan\u003E Tribality and Network Logic \u003C\u002Fh3\u003E\u003Cp class=\"p\"\u003EMusical poetics necessarily involves ‘making music’ (Schütz \u003Ca class=\"xref bibr\" href=\"#REFe-r-187\" data-sectionId=\"#REFe-r-187\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Schütz\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E; Agawu \u003Ca class=\"xref bibr\" href=\"#REFe-r-003\" data-sectionId=\"#REFe-r-003\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Agawu\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E:4), and ideally presupposes a grasp, through social relations and anthropo-logics (Balandier \u003Ca class=\"xref bibr\" href=\"#REFe-r-024\" data-sectionId=\"#REFe-r-024\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Balandier\u003C\u002Fspan\u003E1974[1985]\u003C\u002Fa\u003E), of the relationships of ‘syntony’ but also of tension and negotiation in the activities that, performed together by the actors in space and time, are at the heart of the creative process. We are in the middle of ‘musical communication’, in the heart of the machinery and the making of popular music. So we can understand how popular music is made as an art form, and grasp the role of technology in the creative process by starting to understand how it is transmitted. Music is one of those ephemeral material forms whose mode of transmission is oral and relies primarily on memory (auditory and visual) even if, in reality, ‘different modes of cultural transmission adapt to different forms of legitimation’ (Rowlands \u003Ca class=\"xref bibr\" href=\"#REFe-r-182\" data-sectionId=\"#REFe-r-182\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rowlands\u003C\u002Fspan\u003E1993\u003C\u002Fa\u003E:150). It is here that secrecy and ambiguity, whether intended or not by the master who delivers his teaching, creep in.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIndeed, (musical) art, as the product of collective action, requires its agents to collaborate in the creation of works. This collaboration is possible because the agents share common presuppositions, conventions and so on. When such cooperation occurs repeatedly and even habitually between the same individuals, or individuals who are sufficiently similar to be considered identical, we can speak of the existence of ‘an art world’ (Becker \u003Ca class=\"xref bibr\" href=\"#REFe-r-033\" data-sectionId=\"#REFe-r-033\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Becker\u003C\u002Fspan\u003E1988\u003C\u002Fa\u003E[2006]:99). The expression art world refers to ‘the network of all those whose activities, coordinated through a common knowledge of conventional means of work, contribute to the production of the very works that make the art world famous’ (Becker \u003Ca class=\"xref bibr\" href=\"#REFe-r-033\" data-sectionId=\"#REFe-r-033\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Becker\u003C\u002Fspan\u003E1988\u003C\u002Fa\u003E[2006]:22). In practice, the makers and users of these works ‘have mutually adapted their practices, so that the organisation of production and use remains, for a time, a stable unit, a \u003Cem class=\"italic\"\u003Eworld\u003C\u002Fem\u003E’ (Becker \u003Ca class=\"xref bibr\" href=\"#REFe-r-032\" data-sectionId=\"#REFe-r-032\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Becker\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E:22). Understanding the making of music therefore involves analysing the organisational aspects, processes, logics, norms and values, recipients, networks, alliances and conflicts, and imaginary worlds at work in this specific world of musical art (Becker \u003Ca class=\"xref bibr\" href=\"#REFe-r-032\" data-sectionId=\"#REFe-r-032\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Becker\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E:22–30).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EIntuitive marketing based on a certain idea of public tastes and expectations also guides the manufacture of ‘products’. The ‘Ivorian’ art world, made up of identifiable sub-groups, ‘\u003Cem class=\"italic\"\u003Etribes\u003C\u002Fem\u003E’, micro-groups, communities of emotion endowed with ethics and aesthetics, and which are part of a neo-tribalism ‘characterised by fluidity, occasional gatherings, scattering’ (Maffesoli \u003Ca class=\"xref bibr\" href=\"#REFe-r-129\" data-sectionId=\"#REFe-r-129\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Maffesoli\u003C\u002Fspan\u003E1988\u003C\u002Fa\u003E:116). This tribality – \u003Cem class=\"italic\"\u003Ereggae\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Ezouglou\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003ERn’B-jazz\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Erap\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Ecoupé décalé,\u003C\u002Fem\u003E etc. – conceals the idea of ‘tribal art’ and more or less implies (at the cost of a great simplification) ‘a relationship between the social, the aesthetic and the temporal’. Admittedly, the identity dimensions of individuals and communities are complex and contrasting. There are ‘continuities and values of artists in a given locality between arts of different periods and media’. (Picton \u003Ca class=\"xref bibr\" href=\"#REFe-r-166\" data-sectionId=\"#REFe-r-166\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Picton\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E:28). We can ask with W. Fagg (quoted by Picton): ‘how does this or that configuration of form relate to this or that social grouping in this or that temporal framework?’ Heuristically, each ‘(neo-)tribe’ has or constructs its own artistic universe (including dance, clothing, but also body art, graphic and pictorial arts, etc. – in short, an ethos and an aesthetic). However, despite this ‘tribality’, there are one or more links between these sub-cultures and a certain mobility (of musicians and technicians) is at work in this teeming milieu. In this world of resourcefulness, where survival is paramount, interactions between individuals (musicians, arrangers, producers, etc.) form links, connections, networks that are never definitive, but always in flux.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EAbidjan favours the mixing of popular and cultural musical genres and forms. As a result of the very settlement of the city, whether by rural dwellers or nationals of other colonies, certain neighbourhoods became places of relocation during the colonial period (Balandier \u003Ca class=\"xref bibr\" href=\"#REFe-r-023\" data-sectionId=\"#REFe-r-023\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Balandier\u003C\u002Fspan\u003E1985\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-025\" data-sectionId=\"#REFe-r-025\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Balandier\u003C\u002Fspan\u003E1957\u003C\u002Fa\u003E; Rouch \u003Ca class=\"xref bibr\" href=\"#REFe-r-176\" data-sectionId=\"#REFe-r-176\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rouch\u003C\u002Fspan\u003E1967\u003C\u002Fa\u003E, \u003Ca class=\"xref bibr\" href=\"#REFe-r-178\" data-sectionId=\"#REFe-r-178\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rouch\u003C\u002Fspan\u003E1959\u003C\u002Fa\u003E). This trend continued and was accentuated later with the rural exodus and immigration. This new situation demystifies and renders obsolete the physical and spatially limited geographical notion of ‘\u003Cem class=\"italic\"\u003Ehome\u003C\u002Fem\u003E’, of terroir – \u003Cem class=\"italic\"\u003Eipso facto\u003C\u002Fem\u003E widening the question of citizenship, ethnic belonging, social ties, even the social and national imaginary, the nation – Abidjan thus becomes “\u003Cem class=\"italic\"\u003Ea home away from home\u003C\u002Fem\u003E” for Syrian-Lebanese, Senegalese, French, Burkinabe, Nigerians, Cameroonians, and so on.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe Bété \u003Cem class=\"italic\"\u003Etohourou\u003C\u002Fem\u003E or the Baoulé chansonnier are modern musicians – an endogenous modernity. It is this modernity (or modernisation) that the somewhat ‘essentialist’ notion of ‘tradi-moderne’ (Kua-Nzambi Toko \u003Ca class=\"xref bibr\" href=\"#REFe-r-116\" data-sectionId=\"#REFe-r-116\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kua-Nzambi Toko\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E) seeks to capture by presupposing that traditional and modern are fixed (or even pure) entities. Traditional music is neither anchored in a cultural latency, nor frozen in a traditional customary pastism, paralysed by its mode of conservation and transmission. Traditional music is part of ‘culture-translation’. But this is not ‘the identical reproduction of a set of fixed habits’ (Warnier \u003Ca class=\"xref bibr\" href=\"#REFe-r-211\" data-sectionId=\"#REFe-r-211\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Warnier\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:12). And more: ‘In the fields of music, oral and written literature, bodily techniques, the arts and religious practices, individuals and groups are constantly inventing, \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Einnovating and renewing the cultural achievements of their society. No culture, no society, remains alive without engaging in ongoing cultural creation’ (Warnier \u003Ca class=\"xref bibr\" href=\"#REFe-r-211\" data-sectionId=\"#REFe-r-211\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Warnier\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:52–53).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn reality, this creative approach aims to (re)revive the artistic and musical heritage by covering, recycling and remixing traditional music in order to modernise it. This whole idea is a form of cannibalism (Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-153\" data-sectionId=\"#REFe-r-153\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh and Francis\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E), as Diawara (\u003Ca class=\"xref bibr\" href=\"#REFe-r-063\" data-sectionId=\"#REFe-r-063\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Diawarra, Röschenthaler and Diawarra\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E) also makes us understand in village musical poetics (in Mali). The production of remixes in the artistic world of modern popular music resonates with this (re-conceptualised) cannibalism.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThis idea of the tribe fits in well with that of the construction of a collective identity and the social imaginary, even if it tends to overstate the case. The social imaginary can be conceived as ‘all the imagined forms and contents that are part of social expressions and practices’.\u003Ca class=\"xref footnote\" href=\"#FN-fn-3\" data-sectionId=\"#FN-fn-3\"\u003E\u003Cspan class=\"show-for-sr\"\u003EFootnote \u003C\u002Fspan\u003E\u003Csup class=\"sup\"\u003E3\u003C\u002Fsup\u003E\u003C\u002Fa\u003E In Durkheim’s view, society is first and foremost constituted by ‘the idea it has of itself’, that is, by the autonomous collective representations that circulate in social life and weave the fabric of community consciousness: ‘a whole world of feelings, ideas and images which, once born, obey laws of their own’ (Durkheim \u003Ca class=\"xref bibr\" href=\"#REFe-r-070\" data-sectionId=\"#REFe-r-070\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Durkheim\u003C\u002Fspan\u003E1912[2007]\u003C\u002Fa\u003E:594–596). The social (and even national) imaginary of a country can no longer be conceived as being confined within geographical boundaries. More than ever, we must consider that African music in general, and Ivorian music in particular, develops within ‘transnational cultural flows’ (Appadurai \u003Ca class=\"xref bibr\" href=\"#REFe-r-007\" data-sectionId=\"#REFe-r-007\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Appadurai\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E:90).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe (non-exhaustive) ‘tribalisation’ sketched out earlier refers to imaginary worlds nourished, among other things, by myths that serve to organise daily life and determine artistic creation. Here, passions, elective affinities and sectarian behaviour are important for actors inhabited by ideologies, collective representations and ‘community’ or ‘subcultural’ logics (Tacussel & Renard \u003Ca class=\"xref bibr\" href=\"#REFe-r-191\" data-sectionId=\"#REFe-r-191\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tacussel, Renard and Thomas\u003C\u002Fspan\u003E1998\u003C\u002Fa\u003E:275–276). The language used in popular music is a mark of identity affirmation. Popular song often uses \u003Cem class=\"italic\"\u003ENouchi\u003C\u002Fem\u003E, a variety of African French, the result of local appropriation of the language of the coloniser, which has become the language of power. This language can be conceived as an agent of instrumental, registral and above all identity-based legitimacy (Robillard quoted by Zang Zang \u003Ca class=\"xref bibr\" href=\"#REFe-r-223\" data-sectionId=\"#REFe-r-223\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Zang Zang and Floquet\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E:7). It can also be understood, from a globalist perspective, as a contemporary crossbred language of other young languages, hybrid languages of African metropolises (Hindoubill, Camfranglais, Franfulfuldé, etc.), characterised by a mixture of codes (Boutin & Kouadio \u003Ca class=\"xref bibr\" href=\"#REFe-r-044\" data-sectionId=\"#REFe-r-044\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Boutin, Kouadio and Blumenthal\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E:252) and which are part of the periphery of the global continuum of French (Zang Zang \u003Ca class=\"xref bibr\" href=\"#REFe-r-223\" data-sectionId=\"#REFe-r-223\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Zang Zang and Floquet\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E:12).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMore prosaically, it is the language of the street, often used by young people (whether or not they come from the street). In the absence of an ‘Indigenous’ \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Elingua franca, it is a place where the social imagination is created and a powerful site for composing and recognising a sense of community belonging, even if it’s in a playful register. Used in popular song, it expresses in the most imaginative way what is perceived as coarse or vulgar in standard language. Language, the condition of normative and creative subjectivity, is the foundation of authenticity and subjection, and determines the ‘capacity to act on the world’. Popular language, as a transgression of the official language and insubordination to the French language, is also the quest for the authentic.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe imaginary is a world of images, symbols and myths (Barthes \u003Ca class=\"xref bibr\" href=\"#REFe-r-028\" data-sectionId=\"#REFe-r-028\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Barthes\u003C\u002Fspan\u003E1957\u003C\u002Fa\u003E) that are autonomous but constitute a self-organised whole capable of rendering meaningful and creative ‘the raw data of memory or perception’. It can be conceived as a network in which the different elements take on meaning in relation to each other: ‘an immaterial bridge, but at the same time a very real one, insofar as it gives us the very real power of these images, unintelligible as long as they remain fragmentary’ (Thomas \u003Ca class=\"xref bibr\" href=\"#REFe-r-195\" data-sectionId=\"#REFe-r-195\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Thomas and Thomas\u003C\u002Fspan\u003E1998\u003C\u002Fa\u003E:16–17) through which man gives himself to see the world, and puts himself in touch with the world.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe question of the emergence (and existence) of a national music haunted the three decades of single-party rule: ‘The more they felt that music was essential to the influence of peoples, the more they felt that the population was lagging behind nationally in this area’ (Konaté \u003Ca class=\"xref bibr\" href=\"#REFe-r-110\" data-sectionId=\"#REFe-r-110\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Konaté\u003C\u002Fspan\u003E2002\u003C\u002Fa\u003E:777). National musicians internationalising local genres, artists acclimatising genres from elsewhere, did not resolve the question of national music, did not manage to become ‘singers of Ivorian music’ or national emblems. Armed with the pidginised French of the street, \u003Cem class=\"italic\"\u003Ezouglou\u003C\u002Fem\u003E would undoubtedly sidestep the conscious or unconscious ‘ethno-strategy’ at work in the development of Ivorian music and position itself as national music (Konaté \u003Ca class=\"xref bibr\" href=\"#REFe-r-110\" data-sectionId=\"#REFe-r-110\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Konaté\u003C\u002Fspan\u003E2002\u003C\u002Fa\u003E:778). As for ‘ethno-strategy’ (Konaté \u003Ca class=\"xref bibr\" href=\"#REFe-r-110\" data-sectionId=\"#REFe-r-110\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Konaté\u003C\u002Fspan\u003E2002\u003C\u002Fa\u003E), it should be noted that music can be ‘ethnic’ and have a national (or even international) audience. The impact of the lyrics will certainly not be the same. Popular music also reveals an ethos (in the sense of a set of values, but also a lifestyle and a sense of achievement). It produces and reproduces a collective imagery (a set of images from the same origin) that is produced (reproduced), proposing a way of perceiving the world and of perceiving oneself in that world.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMusic is also part of the construction of the collective identity of a group, a people, a human community. ‘Identity is a more sociological concept than the ego, and one that is more difficult to grasp because it does not manifest itself directly in the behaviour of individuals. Identity is also a mechanism, a process, and processes are never directly observable’ (Moessinger \u003Ca class=\"xref bibr\" href=\"#REFe-r-141\" data-sectionId=\"#REFe-r-141\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Moessinger\u003C\u002Fspan\u003E2000\u003C\u002Fa\u003E:91). In Côte d’Ivoire, popular music is often reduced to \u003Cem class=\"italic\"\u003Ezouglou\u003C\u002Fem\u003E or \u003Cem class=\"italic\"\u003Ereggae\u003C\u002Fem\u003E, or even \u003Cem class=\"italic\"\u003Ecoupé décalé\u003C\u002Fem\u003E. Because of their hegemonic nature, they create a halo around modern popular music, which can now be seen as a sign of young people asserting their \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Eidentity through insubordination to adult authority (Akindès \u003Ca class=\"xref bibr\" href=\"#REFe-r-004\" data-sectionId=\"#REFe-r-004\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Akindès, Palmberg and Kirkegaard\u003C\u002Fspan\u003E2002\u003C\u002Fa\u003E:101). Identity is often understood as having two dimensions: unity, which refers to ‘a set of individual properties that remains relatively constant’, and uniqueness, which refers to ‘the specificity of the individual, to what makes him different from others, and most often refers to experience and subjectivity’ (Moessinger \u003Ca class=\"xref bibr\" href=\"#REFe-r-141\" data-sectionId=\"#REFe-r-141\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Moessinger\u003C\u002Fspan\u003E2000\u003C\u002Fa\u003E:95).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EPopular music (in the sense of committed or non-committed popular music) constructs the uniqueness of the Ivorian as a collective feeling vis-à-vis a ‘community self’ and vis-à-vis others. In order to make a ‘hermeneutic’ of it, to draw out its meaning, we posit that this popular music participates in the process of constructing a collective Ivorian identity. In other words, the aim of this work is to understand popular music as language and communication. Understanding popular music as a form of social communication means interpreting its meaning, in other words, reconstructing the motives of social actors (Boudon 2003). Values such as ‘hospitality’ and ‘pacifism’ make up the representations of the stereotypical positive Ivorian identity, ‘Ivorian-ness’. The symbolic aspect of a social fact is undoubtedly one of its properties (Mauss \u003Ca class=\"xref bibr\" href=\"#REFe-r-133\" data-sectionId=\"#REFe-r-133\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mauss\u003C\u002Fspan\u003E1925[2012]\u003C\u002Fa\u003E). These highly symbolic values sketch out the imagined features of Côte d’Ivoire and the Ivorian. ‘There \u003Cem class=\"italic\"\u003Enever was that, there isn’t that and there never will be that’\u003C\u002Fem\u003E. In this refrain from Pat Sacko’s dream, ‘\u003Cem class=\"italic\"\u003Ethat\u003C\u002Fem\u003E’ \u003Cem class=\"italic\"\u003Eis\u003C\u002Fem\u003E used for ‘Ivorians killing each other’.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EPopular music, which internalises the values inseparable from the dominant ideology, is, as an expression of cultural identity, the verbalisation of a collective ego or superego (Fougeyrollas \u003Ca class=\"xref bibr\" href=\"#REFe-r-081\" data-sectionId=\"#REFe-r-081\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Fougeyrollas\u003C\u002Fspan\u003E1987\u003C\u002Fa\u003E:48–51). The musical expressions of young people bear witness to ‘the conjunction between the uncertainty of the future elites and the disillusionment of those excluded from the system’, out of step with an outdated discourse that has little credibility for these young people (Konaté \u003Ca class=\"xref bibr\" href=\"#REFe-r-110\" data-sectionId=\"#REFe-r-110\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Konaté\u003C\u002Fspan\u003E2002\u003C\u002Fa\u003E:778–779). Notwithstanding this, popular music, taken as a whole, conveys a sense of community, collective dreams.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe postulate here is a major one: the imaginary plays an important role in the establishment of a community (Castoriadis \u003Ca class=\"xref bibr\" href=\"#REFe-r-050\" data-sectionId=\"#REFe-r-050\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Castoriadis\u003C\u002Fspan\u003E1975\u003C\u002Fa\u003E; Anderson \u003Ca class=\"xref bibr\" href=\"#REFe-r-006\" data-sectionId=\"#REFe-r-006\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Anderson\u003C\u002Fspan\u003E1983\u003C\u002Fa\u003E). It therefore seems conceivable and even possible to understand (the worlds of) music through empirically identifiable ‘tribes’, ‘communities’, ‘natural categorisations’ and even subcultures. For example, we can broadly identify ‘tribal’ groups: \u003Cem class=\"italic\"\u003Ezouglou\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Eyoussoumba\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Ecoupé décalé\u003C\u002Fem\u003E, and so on, and their successors … in short, those who perform at the Abidjan Urban Music Festival (\u003Cem class=\"italic\"\u003EFEMUA\u003C\u002Fem\u003E), but not exclusively. They have more or less marked and differentiated dress and language codes, greeting rituals, lifestyles (more community-based for the \u003Cem class=\"italic\"\u003Erastas\u003C\u002Fem\u003E), imaginary worlds, and so on and often have more or less dedicated social and performance spaces (cafés, maquis, bars, etc.), urban bubbles such as the street, the \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Eneighbourhood, the ‘periphery’, the university halls of residence, and so on. These groups form communities of sorts. All this seems to have the ingredients of tribality. These ‘communities’ are symptomatic of a ‘tribalism’ or even a ‘neotribalism characterised by fluidity, occasional gatherings and scattering’ (Maffesoli \u003Ca class=\"xref bibr\" href=\"#REFe-r-129\" data-sectionId=\"#REFe-r-129\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Maffesoli\u003C\u002Fspan\u003E1988\u003C\u002Fa\u003E:116) at the heart of the way popular music works. These tribal communities, far from being watertight, are characterised by a certain mobility, even nomadism, particularly among musicians who move from one tribe to another, which is a guarantee of creativity and innovation. Popular music is in fact conceived in terms of the ‘hybridisation’ and fusion made possible by the circulation of cultural and artistic products.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003ECultural creativity is not limited to the national territory, but rather extends to a crossbreeding of belonging. The production or manufacture of Ivorian music (like much music) is a delocalised activity (Giddens \u003Ca class=\"xref bibr\" href=\"#REFe-r-085\" data-sectionId=\"#REFe-r-085\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Giddens\u003C\u002Fspan\u003E1994\u003C\u002Fa\u003E), we might even say deterritorialised or multi-territorial. Creation may well begin in Abidjan in one studio and be finalised elsewhere in another studio in another country in a diasporic environment, these \u003Cem class=\"italic\"\u003Ehomes away from homes\u003C\u002Fem\u003E which, despite their conscious or unconscious resistance, are themselves in the midst of a process of cultural ‘hybridisation’. The African diaspora, which is extremely complex, plays a considerable role in the deterritorialised production of ‘African’ music in general (Nyamnjoh & Fokwang \u003Ca class=\"xref bibr\" href=\"#REFe-r-156\" data-sectionId=\"#REFe-r-156\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh and Fokwang\u003C\u002Fspan\u003E2005\u003C\u002Fa\u003E:257).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIt is together that the black diasporas specifically produce ‘Ivorian’ music. In Côte d’Ivoire itself, contacts and exchanges between musicians from other parts of Africa (Malians, Guineans, Ghanaians, Cameroonians, Liberians, Congolese – to give just a few examples), in certain districts of Abidjan (Marcory, Remblais, Yopougon, Abobo among others), encouraged creativity and musical creation, while at the same time influencing the construction of the social imagination. Zairean refugee musicians (fleeing economic hardship and then war in their own countries, waiting to return home or go to \u003Cem class=\"italic\"\u003EMatongué\u003C\u002Fem\u003E in Brussels) have had a considerable influence on DJ music. The formal analogy between \u003Cem class=\"italic\"\u003ENdombolo\u003C\u002Fem\u003E (Biaya 2000) and the dances and atmosphere created by the DJs is striking.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMany of the young artists and listeners, often born in the city, have a floating relationship with the rural world, the terroir (Bahi \u003Ca class=\"xref bibr\" href=\"#REFe-r-018\" data-sectionId=\"#REFe-r-018\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bahi\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E). This low attendance rate is usually explained by fear of witchcraft, reduced financial resources as a result of the economic situation (with the economic crisis, travelling to the village is expensive, especially if the village is far from Abidjan), and other factors. The fact remains that urban and rural boundaries are porous: towns and the hinterland are interconnected. The members of a family, whether they live in the city or the country, are interdependent, even creating a continuity. This continuity is conducive to artistic creation. Ultimately, for these young city dwellers, the village is really the neighbourhood (the \u003Cem class=\"italic\"\u003Egbata\u003C\u002Fem\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EFrom the end of the 1970s onwards, a cultural and artistic ferment took place, characterised by the blending of the artistic sensibilities of Ivorians and artists of different origins, who had immigrated for various reasons to these places, which were ultimately places of cultural diversity, like hives of artists. This ferment has breathed new vitality into Ivorian popular music. New musical genres and styles are born from and within this socio-cultural effervescence. It’s as if veritable youth subcultures have grown up around these musical styles. The differences between these styles are quite remarkable, even if the sedimentation is not ‘solid’ or rigid. Some young people wander from one style to another. This stylistic coasting is particularly true of musicians with a very good technical level who are capable of playing very different styles. These different musical genres and styles often share the same ‘sharks’ – musicians, technicians or arrangers. As a result, there are no watertight barriers between these musical genres, and there is always scope for mixing and mingling, and therefore for the unexpected.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EHybridisation and fusion have been joined by fusion. Emotional communities are expressed in the common phrase ‘\u003Cem class=\"italic\"\u003Ewe’re together\u003C\u002Fem\u003E’ (‘\u003Cem class=\"italic\"\u003Ewe do everything together\u003C\u002Fem\u003E’ and, more tragically, ‘\u003Cem class=\"italic\"\u003Ewe die together\u003C\u002Fem\u003E’ in the post-election crisis of 2010). It’s the idea of being together, this sociality that is revealed in essentially behavioural cultural elements: modes of dress, hairstyles, dance, gait, language, and which subsumes itself in ‘style’. Clothes, hairstyles and accessories construct this ‘good’ or ‘bad’ taste, this look, this ‘style’, displayed in front of others as signs of recognition. Indeed, the body speaks: ‘It bears the inscriptions, marks and attributes that express belonging, social identity and status. Clothing and bodily ornaments contribute to this definition, and gestures even more so’ (Balandier \u003Ca class=\"xref bibr\" href=\"#REFe-r-022\" data-sectionId=\"#REFe-r-022\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Balandier\u003C\u002Fspan\u003E2008\u003C\u002Fa\u003E:59). All this contributes to the formation of urban subcultures shared by artists and their fans. They also act as beacons to which young people in need of reference points can relate. This form of identification, based on appearances and somewhat haphazard, nonetheless raises the question of what these ‘tribes’ have in common.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIt could be argued that there is no such thing as an audience for popular song, given its great heterogeneity and the plasticity of Ivorian identity and popular culture (and subcultures). Rather, there is a multiplicity of specific audiences. This phenomenon is amplified by the use of the internet. Instead, popular music is the bearer of its own imaginary worlds and imagined audiences, which may have a certain impact on the institution of society. Popular culture, which encompasses the cultures of young people, including protest cultures, is multiform, diffuse and elusive. Understanding it requires us to ‘grasp the practical intelligence of ordinary people, principally in the use they make of mass production’ (Cuche 2001:71). These communities are not some kind of autarkic artistic worlds, irreconcilable musical clans. Rather, there is a circulation or circularity of influences and, from this perspective, the success of these musical styles appears to be cyclical.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003ETheoretically, we can admit that there is cooperation\u002Fcomplementarity between manufacturers and users\u002Fconsumers of musical products, which themselves convey representations of society. The Ivorian music world is unique in that it is made up of a myriad of experts who participate in a cooperative network to transform the original idea into the finished product. They all have an idea of the tastes and expectations of the public, of what ‘\u003Cem class=\"italic\"\u003Eworks\u003C\u002Fem\u003E’, of what will ‘\u003Cem class=\"italic\"\u003Ehit’\u003C\u002Fem\u003E and so forth.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMusicians who have learned ‘on the job’ and other music school graduates can work together to produce music. In reality, they are all involved in this intuitive marketing. And this marketing (or rather this intuitive knowledge based on their experience and common sense) comes into play in the very production of fashionable songs. The studios form a kind of vast network in which the companies (individual or nodule) are both in a position of competition and complementarity, emulation and cooperation. All this forms a complex set of social and professional networks, both physical and digital, forming a networked tribe whose origins are still unknown. These mushrooming micro-companies, often parasitic, sometimes saprophytic, can spring up just about anywhere: for example, in the domestic family sphere (an outbuilding, a room in the house, etc.).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIt’s true that Ivorian music is formed, made and produced elsewhere in the diaspora: in Ghana, in Accra, in Nigeria, in Lagos (see Eba Aka and Ernesto Djédjé – or how typically Ivorian music is made outside Côte d’Ivoire …) in France, in Paris, for example, in recording studios frequented by African musicians. There, musicians of different ethnic origins rub shoulders and work as a group, driven by the same objective and the same passion: African music. Real ‘paradigmatic’ teams were formed, with names that come up often: Aladji Touré, Sissi Dipoko, Jimmy Hyacinthe, and Slim Pezin. The diasporic experience contributed to the formation and transformation of Ivorian music and gave it its current form. It creates a break or rupture between a before and an after, between here and there (Ricci \u003Ca class=\"xref bibr\" href=\"#REFe-r-173\" data-sectionId=\"#REFe-r-173\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Ricci\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E:13). (Ivorian) music is the product of a cultural cross-fertilisation in which digital media and cyberspace are important insofar as they are also places where Ivorian popular music(s) are formed and performed. They are also places where Ivorian musicians express themselves, thus producing a metadiscourse that sheds light on, or rather complicates, our understanding of the musical universe and the (social and economic) logics at work within it.\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"A-sec-10\" data-magellan-destination=\"A-sec-10\"\u003E\u003Ch3 class=\"A title\"\u003E\u003Cspan class=\"label\"\u003E6\u003C\u002Fspan\u003E Music Creation and Technology \u003C\u002Fh3\u003E\u003Cp class=\"p\"\u003EMost of the peoples who make up today’s Côte d’Ivoire had polysemous terms for music, generally encompassing ‘a plurality of aesthetic practices including dance, song, poetry, storytelling and everything to do with entertainment and play’ (Dédy \u003Ca class=\"xref bibr\" href=\"#REFe-r-061\" data-sectionId=\"#REFe-r-061\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Dédy\u003C\u002Fspan\u003E1984\u003C\u002Fa\u003E:109). Creation is understood here as the act of creating a new \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Emodel, an original work (Petit Larousse). It is understood as an original production or work created by one or more people. We therefore expect something new, original and authentic. Art, particularly musical art, is often seen as a ‘gift’ and the ability to create it as proof of this gift. The artist is seen as consecrated, and talent and success are even often said to have ‘a mystical origin’ (Séry \u003Ca class=\"xref bibr\" href=\"#REFe-r-190\" data-sectionId=\"#REFe-r-190\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Séry\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E:61). Creativity, fertility and productivity are further proof of this gift. Ernesto Djédjé used to say of his rivals: \u003Cem class=\"italic\"\u003E‘kômou nè blà doblé fa sou nan\u003C\u002Fem\u003E [the turaco will never become a nightingale]’. Great singers compare themselves to nightingales. No matter how hard his rivals tried, they could never match him, for ‘\u003Cem class=\"italic\"\u003Edagbasouè nèn bla glopè zo\u003C\u002Fem\u003E [The tree trunk [that floats] in the water will never become a caiman (crocodile)]’.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EAn art world is a structure of collective activity in which often numerous actors cooperate in complex networks to produce works of art. These works of art come into being and exist thanks to this cooperation, and always bear the traces of it (Becker \u003Ca class=\"xref bibr\" href=\"#REFe-r-033\" data-sectionId=\"#REFe-r-033\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Becker\u003C\u002Fspan\u003E1988\u003C\u002Fa\u003E:27–28). Following this logic, we were interested in the ‘forms of cooperation implemented’ to produce music. It therefore seemed imperative to identify the constraints that the organisation places on production, to take account of the characteristics of this world of music and the way in which this operation influences (the form and content of) the music produced and therefore the end products made available to the consuming public (disseminated for the benefit of the public). Imagination permeates all human activities.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EBut the notion of a network can lead us to lose sight of the fact that in this universe, in this milieu of inter-acquaintance, where entrepreneurship is developing, there are alliances but also rivalries. Admittedly, this fact is far from new: the \u003Cem class=\"italic\"\u003Etohourous report\u003C\u002Fem\u003E rivalries between themselves. They prepare themselves mystically so as not to be defeated by their opponents. The sorcery attack is also present. A singer can ‘tie up the mouth’ or ‘block the throat’ of his rival to prevent him from singing, or even stifle his inspiration and inhibit his creativity. Singers then look for occult protections, ‘medicines’ – their rival can harm their performance by attacking their spectacular performances, ipso facto ruining their reputation and ultimately their career. In some cases, the sorcerous attack can even be fatal, leading to the artist’s death. This is what \u003Cem class=\"italic\"\u003Etohourou\u003C\u002Fem\u003E Lago Liadé Émile says in his tribute song, his funeral oration, to master \u003Cem class=\"italic\"\u003Etohourou\u003C\u002Fem\u003E Srolou Gabriel: evil sorcerers killed him: ‘\u003Cem class=\"italic\"\u003EA hé godogouwan\u003C\u002Fem\u003E [evil sorcerers] \u003Cem class=\"italic\"\u003Ea yè tou o!\u003C\u002Fem\u003E \u002FA \u003Cem class=\"italic\"\u003Ekô lba Sérié Gossi a yè nou to bheu\u003C\u002Fem\u003E (You killed Séri Gossi [another name for Srolou Gabriel] we’re finished)!’\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EA \u003Cem class=\"italic\"\u003Etohourou\u003C\u002Fem\u003E singer who succeeds in performing against rivals is seen as a powerful man. His self-presentation places him in the role of ‘truth-teller’ and also sounds like a challenge to others. This self-presentation, very typical of \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Etraditional \u003Cem class=\"italic\"\u003Etohourou\u003C\u002Fem\u003E singers, is echoed by the modern popular music singer Amédée Pierre, whose nicknames, mottos or currency names all evoke the great singer he embodies and sound like challenges to his rivals. This self-presentation is reminiscent of the declamation (declension) of the griot’s identity (Camara \u003Ca class=\"xref bibr\" href=\"#REFe-r-049\" data-sectionId=\"#REFe-r-049\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Camara\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E; Niane \u003Ca class=\"xref bibr\" href=\"#REFe-r-150\" data-sectionId=\"#REFe-r-150\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Niane\u003C\u002Fspan\u003E1960\u003C\u002Fa\u003E). These songwriters ‘prepare’ themselves (in an occult way) before their performance, adorning themselves with fetishes so that their rivals do not cast a spell on them or ‘bind’ their voices. In the words of singer Ernesto Djédjé: \u003Cem class=\"italic\"\u003E‘Bhle bhle nè wa sronon nikpè\u002F kossou gui yê wro gba lé\u002F Manè yè pinekpa grinè a ziri gba ziri?\u003C\u002Fem\u003E [You can’t teach someone to sing\u002F It’s in the family\u002F (so) Why go to the fetishists (implied to block my mouth)?]’. Witchcraft, this ‘living reality’ of our society (Gadou \u003Ca class=\"xref bibr\" href=\"#REFe-r-082\" data-sectionId=\"#REFe-r-082\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gadou\u003C\u002Fspan\u003E2011\u003C\u002Fa\u003E), invites itself into musical performance and even intervenes in unprecedented or unexpected ways. Musicians, whether ‘traditional’ or ‘modern’, often seek mystical ‘protection’. After all, ‘this is Africa’ (Leimdorfer \u003Ca class=\"xref bibr\" href=\"#REFe-r-124\" data-sectionId=\"#REFe-r-124\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Leimdorfer\u003C\u002Fspan\u003E2006\u003C\u002Fa\u003E; Djédjé \u003Ca class=\"xref bibr\" href=\"#REFe-r-065\" data-sectionId=\"#REFe-r-065\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Djédjé\u003C\u002Fspan\u003E2005\u003C\u002Fa\u003E). Magic and witchcraft, whatever one may say, remain living realities (Boa \u003Ca class=\"xref bibr\" href=\"#REFe-r-038\" data-sectionId=\"#REFe-r-038\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Boa\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E; Gadou \u003Ca class=\"xref bibr\" href=\"#REFe-r-082\" data-sectionId=\"#REFe-r-082\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gadou\u003C\u002Fspan\u003E2011\u003C\u002Fa\u003E). It is therefore conceivable that they are present in the Ivorian musical (art) world.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EToday, music is made in a craft with the \u003Cem class=\"italic\"\u003Ehome studio at\u003C\u002Fem\u003E its epicentre, where digital sound recording technology reigns. Technique (technology) ‘is an active means of producing art [which] contributes to the establishment of mediations’ (see Hennion & Latour \u003Ca class=\"xref bibr\" href=\"#REFe-r-099\" data-sectionId=\"#REFe-r-099\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Hennion and Latour\u003C\u002Fspan\u003E1996\u003C\u002Fa\u003E:238–239). It interferes in the daily lives of young musicians. It is becoming increasingly important for learning, creating\u002Fmanufacturing, reproducing, broadcasting and listening to music. The internet and these technologies are already part of their world. They don’t expect much from the state. Their musical universe, especially among novices, is characterised by resourcefulness and a certain amateurism (in the positive or ‘noble’ sense) at the theoretical, practical and material levels (with very approximate knowledge of harmony, organology, etc.). The socio-technical framework of musical poetics is still fairly rudimentary. These novices are ‘\u003Cem class=\"italic\"\u003Ecoached\u003C\u002Fem\u003E’ by ‘\u003Cem class=\"italic\"\u003Earrangers\u003C\u002Fem\u003E’ … Technology, in music production (literally), invites humans to ‘embrace and relate to technologies as things and relationships that complement us as much as they do not’ (Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-152\" data-sectionId=\"#REFe-r-152\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh\u003C\u002Fspan\u003E2019\u003C\u002Fa\u003E:282). ICTs are the real \u003Cem class=\"italic\"\u003EJuju\u003C\u002Fem\u003E (Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-152\" data-sectionId=\"#REFe-r-152\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh\u003C\u002Fspan\u003E2019\u003C\u002Fa\u003E) that makes musical works possible. Here, technology and ‘witchcraft’ both refer ‘to a world of infinite possibilities – a world of presence in simultaneous multiplicities and eternal powers to redefine reality’ (Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-151\" data-sectionId=\"#REFe-r-151\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh\u003C\u002Fspan\u003E2020\u003C\u002Fa\u003E:282).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThat said, the work of art depends less on technique than on the social construct that gives it originality and legitimacy (Rouzé \u003Ca class=\"xref bibr\" href=\"#REFe-r-180\" data-sectionId=\"#REFe-r-180\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Rouzé\u003C\u002Fspan\u003E2004\u003C\u002Fa\u003E: 45; Hennion & Latour \u003Ca class=\"xref bibr\" href=\"#REFe-r-099\" data-sectionId=\"#REFe-r-099\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Hennion and Latour\u003C\u002Fspan\u003E1996\u003C\u002Fa\u003E). Indeed, a musical work (like any artistic work) can be seen as ‘the ambiguous product of a struggle between the subjectivity of the artist and the technical necessities of the material’ (Passeron \u003Ca class=\"xref bibr\" href=\"#REFe-r-164\" data-sectionId=\"#REFe-r-164\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Passeron\u003C\u002Fspan\u003E1999\u003C\u002Fa\u003E:271), where technique \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E(digital technology) comes into play. The work that emerges (from this process) is not the product of an individual creator but rather of a collective entity working in (home)studios (which flourish here and there) where working conditions are not always optimal (compared to North American or European studios). Music is one of the best places to apply advanced technologies. These play an important role in creation (production), even if they do not guarantee creativity.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EOré Tapé Félix, \u003Cem class=\"italic\"\u003ETohourou\u003C\u002Fem\u003E from Digbapia in the Daloa region, explained the elements of the costume he wears for his stage performances. The cowrie shell headband around his head is designed to inspire his creativity. The clothes he wears for his artistic performances are a legacy from his late uncle, \u003Cem class=\"italic\"\u003ETohourou\u003C\u002Fem\u003E Gabriel Srolou, known as ‘Gabi Show’, and are supposed to provide him with both magical protection and creative inspiration. But it all starts with a ‘raw’ idea. The sources of inspiration are numerous and by definition unlimited. Popular artists draw their inspiration from their social environment (e.g. DJ Lewis’s ‘Avian Flu’), from ordinary everyday life (‘Premier gaou’ by Magic System), from the smallest facts of ordinary daily life. They may deal with seemingly insignificant issues told in a lapidary fashion, but are thus clearly and unambiguously a testimony to everyday life (Mouchtouris \u003Ca class=\"xref bibr\" href=\"#REFe-r-144\" data-sectionId=\"#REFe-r-144\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mouchtouris\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:139). In any case, these songs always represent commercial opportunities.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe workshop, the rehearsal room and the recording studio are liminal spaces (Turner \u003Ca class=\"xref bibr\" href=\"#REFe-r-205\" data-sectionId=\"#REFe-r-205\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Turner\u003C\u002Fspan\u003E1969[1997]\u003C\u002Fa\u003E) where music is made and where creativity is stimulated by group work. This production can take the form of musical bricolage, which requires inventiveness (Nganguè \u003Ca class=\"xref bibr\" href=\"#REFe-r-148\" data-sectionId=\"#REFe-r-148\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nganguè\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E:11; Kolé \u003Ca class=\"xref bibr\" href=\"#REFe-r-109\" data-sectionId=\"#REFe-r-109\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kolé\u003C\u002Fspan\u003E2023\u003C\u002Fa\u003E). Many musicians, often very limited in terms of both instrumental and theoretical mastery, offer ‘raw material’ that will be transformed by the ‘arranger’ during work sessions in the (home)studio. This ‘liminal being’ (Turner) performs several functions (sound engineer, programmer, coach, instrumentalist, etc.) and is, in the final analysis, a veritable ‘one-man band’. Some are even involved in \u003Cem class=\"italic\"\u003Elive\u003C\u002Fem\u003E music. Technical ‘mastery’ is a veritable cultural (rather technical) capital in the sense of Bourdieu (\u003Ca class=\"xref bibr\" href=\"#REFe-r-042\" data-sectionId=\"#REFe-r-042\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bourdieu\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E). But this liminal being, a character wearing many hats, also serves as a role model and motivator, a stimulator, and so forth. In this world, jazz musicians, often self-taught, are ‘studio sharks’, sought after for their ability to add creativity. In the minds of Ivorian musicians, jazzmen represent the pinnacle of musical art, even if they can sometimes seem ‘esoteric’.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe apparent paucity of sources of inspiration is due to the fact that it is subject to food preoccupations. Artists, manipulated by their stomachs, produce what will feed them. Ideological aberrations restrict the depth of questioning, reduce musicians’ capacity to question, and dry up the sources of inspiration: the sources of inspiration become one-track thinking or harmless ditties. \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EThe musician loses his ‘capacity for interpellation’ (Mbembe \u003Ca class=\"xref bibr\" href=\"#REFe-r-135\" data-sectionId=\"#REFe-r-135\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mbembe\u003C\u002Fspan\u003E1985\u003C\u002Fa\u003E:144). The pressure of producers and the ‘market’ must also be taken into account (even at that time). What’s more, they were inexorably drawn towards ‘\u003Cem class=\"italic\"\u003Egombos\u003C\u002Fem\u003E’.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMusical creation, in these ‘creative (interconnaissance) milieus’ translates how and why the poet-singer narrates social life and expresses this world at the same time as constructing it, and can ‘unmask, behind appearances, the languages of the powers and their codes’ (Goerg \u003Ca class=\"xref bibr\" href=\"#REFe-r-087\" data-sectionId=\"#REFe-r-087\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Goerg and Goerg\u003C\u002Fspan\u003E1999\u003C\u002Fa\u003E:6). A stable, theorising \u003Cem class=\"italic\"\u003Edoxa\u003C\u002Fem\u003E constitutes ‘a background, a back-world or even a pre-text as well as a context, a permanent accompaniment to artistic manifestations [because the doxa is] directly the driving force, or at least the medium that indirectly shapes, through its expectations, the way of thinking about and producing art’ (Cauquelin \u003Ca class=\"xref bibr\" href=\"#REFe-r-051\" data-sectionId=\"#REFe-r-051\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Cauquelin\u003C\u002Fspan\u003E1999\u003C\u002Fa\u003E:12). It naively receives, assembles and mixes the most diverse conceptions. The musical work is based on cultural and unnatural patterns of perception (Caune \u003Ca class=\"xref bibr\" href=\"#REFe-r-052\" data-sectionId=\"#REFe-r-052\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Caune\u003C\u002Fspan\u003E1995\u003C\u002Fa\u003E:111), which are themselves an integral part of the musical situation. The commercial profitability of the work appears (always more or less) as an imperative.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe extreme example of the \u003Cem class=\"italic\"\u003Etohourou\u003C\u002Fem\u003E and its magical artefacts illustrates the extent to which creativity is the real obsession of creators, and the fixation on new technologies is often aimed at compensating for the lack of ideas, the drying up of creativity which often takes the path of authenticity and which seems to creators to be a guarantee of success. ‘For poetics, the dual authenticity of the material processed and the subject who acts remains an essential value’ (Passeron \u003Ca class=\"xref bibr\" href=\"#REFe-r-164\" data-sectionId=\"#REFe-r-164\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Passeron\u003C\u002Fspan\u003E1999\u003C\u002Fa\u003E:273). However, there is a certain ‘antinomy of merchandise and authenticity’ (Warnier \u003Ca class=\"xref bibr\" href=\"#REFe-r-212\" data-sectionId=\"#REFe-r-212\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Warnier and Warnier\u003C\u002Fspan\u003E1994\u003C\u002Fa\u003E:12). Authentic merchandise (be it musical) is paradoxical, marked by money, and yet guarantees ‘a “personalisation” made increasingly necessary by the commodification of the universe in which we live’ (Warnier \u003Ca class=\"xref bibr\" href=\"#REFe-r-212\" data-sectionId=\"#REFe-r-212\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Warnier and Warnier\u003C\u002Fspan\u003E1994\u003C\u002Fa\u003E:20).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EBecause of Côte d’Ivoire’s recent history, the demand for authenticity takes place in a social space where ethno-cultural identities play an important role. Authenticity, an often obsessive African quest, can be sought on the fringes of identity fiction, referring to the past, to ‘tradition’, to the ‘typical’, and so on. This (re)conquest of authenticity, beyond folklore, in those years, evokes the very opposite of a modernity deemed alienating. Some Ivorian musical promotions bet on authenticity at the risk of seeing it converted into a niche (in the marketing sense of the term) in order to ‘make money’. This so-called authenticity seems more like a niche market than a serious claim to identity.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn the globalised music market, the roles of music lovers, influencers and consumers are differentiated. The development of mass media and the Internet affect the aesthetics and tastes of audiences and, logically, are likely to determine production itself to some extent. This inevitably raises the question of \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Eauthenticity in terms of the distinction between ‘avant-garde’ and ‘junk’, which symbolises the triumph of profit that garrotes culture (Adorno \u003Ca class=\"xref bibr\" href=\"#REFe-r-002\" data-sectionId=\"#REFe-r-002\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Adorno\u003C\u002Fspan\u003E1962\u003C\u002Fa\u003E:20). Cultural creativity is not confined to a nation in the limited sense of the term, but extends to the very notions of métissage and miscegenation, the dimensions of belonging. These popular musics, born of cultural blends and reinvented traditions, are made using both complex musical technologies and re-appropriated ancestral instruments, and are part of the same movement of renewal. Despite the use of electronics and digital technology, modern popular music seems to be more about continuity than rupture. ‘We live by legacies, and on legacies … elements from the past weigh and condition the present and the future to some extent’ (Dollfus \u003Ca class=\"xref bibr\" href=\"#REFe-r-066\" data-sectionId=\"#REFe-r-066\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Dollfus\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:47).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EBy seeking an ‘Ivorian authenticity’ – which we thought was emerging with \u003Cem class=\"italic\"\u003Ezouglou –\u003C\u002Fem\u003E Ivorian music is at the same time accompanying the construction and contradictions of identity (i.e. identity of similarity and identity of difference). Like art in general, music ‘integrates the new from what has gone before, making the two coexist \u003Cem class=\"italic\"\u003Eas if\u003C\u002Fem\u003E nothing had changed. An \u003Cem class=\"italic\"\u003Eas if\u003C\u002Fem\u003E that defines fiction, the imaginary’ (Meyer \u003Ca class=\"xref bibr\" href=\"#REFe-r-137\" data-sectionId=\"#REFe-r-137\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Meyer\u003C\u002Fspan\u003E1997\u003C\u002Fa\u003E:43). This quest for authenticity is also expressed in the ideals of fusion subsumed in the expression ‘tradi-moderne’, a word formed from traditional and modern, which, when added to ‘music’, refers to ‘that which combines traditional and modern music’ (Massoumou & Queffélec \u003Ca class=\"xref bibr\" href=\"#REFe-r-132\" data-sectionId=\"#REFe-r-132\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Massoumou and Queffélec\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:419). It can be inspired by traditional music and combine modern (European) instruments (Kua-Nzambi Toko \u003Ca class=\"xref bibr\" href=\"#REFe-r-116\" data-sectionId=\"#REFe-r-116\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kua-Nzambi Toko\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E). Many musicians have felt or are feeling this absolutely reflexive need to stop, if only temporarily, in order to consider what the traditional African aesthetic – that of their environment or ‘terroir’ – should contribute to their contemporary modern creation. This is perhaps what is reflected in the neologism ‘tradi-moderne’.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EBut there are still questions about the authenticity of modern Ivorian popular music, which draws on a variety of local traditions as well as, and above all, Western ones (in terms of harmony, composition, orchestration, etc.). Given all the circulation of forms, ideas, materials and people, all the exchanges, all the revivals, all the mixes – can we really still talk about authenticity? Like tradition, which is invented, authenticity is produced by the mobility of people, ideas and objects. Authenticity, like tradition, is dynamic. One way of being ‘original’ is to draw on the reservoir of ‘traditional’ music, the music of the ‘terroir’. This means mixing or revisiting it in the light of Western musical traditions, popular music from Northern countries, and other African music such as Congolese \u003Cem class=\"italic\"\u003Erumba\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Ehighlife\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Emakossa\u003C\u002Fem\u003E and so on. This justifies the names of mixes such as ‘\u003Cem class=\"italic\"\u003Ezézé pop\u003C\u002Fem\u003E’, ‘\u003Cem class=\"italic\"\u003Ealoukou pop’\u003C\u002Fem\u003E, ‘\u003Cem class=\"italic\"\u003Eziglibithy-makossa\u003C\u002Fem\u003E’ and so on. The ‘cosmopolitan nativism’ (Olaniyan \u003Ca class=\"xref bibr\" href=\"#REFe-r-157\" data-sectionId=\"#REFe-r-157\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Olaniyan\u003C\u002Fspan\u003E2004\u003C\u002Fa\u003E), a veritable endogenous ‘cosmopolitanism’, can also be found in a musician like Meiway. This act of gentle \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Eresistance to Euro-American cultural imperialism is not closed in on itself or turned in on ancestrality, but rather open to intentional and egalitarian hybridisation, by no means as a result of coercion or capitulation to foreign cultural hegemonic forces. However, ‘authenticity is illusory if rationality remains alien to it in every respect, if it is not expressed through the instrumentalities of technology which, when mastered, can provide it with the necessary, though not sufficient, conditions’ (Eboussi Boulaga \u003Ca class=\"xref bibr\" href=\"#REFe-r-072\" data-sectionId=\"#REFe-r-072\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Eboussi Boulaga\u003C\u002Fspan\u003E1977\u003C\u002Fa\u003E:228). What can musical ‘authenticity’ really be if it is left to the laws of a music market driven by profit?\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E‘Technology’, which is revealed (imposed) fairly early on in the musician’s life, is central to understanding the musical poietic process. In the Ivorian music world, musicians find it extremely difficult to obtain quality instruments and make do as best they can. The most numerous and ‘\u003Cem class=\"italic\"\u003Eaffordable\u003C\u002Fem\u003E’ musical instruments and electronic equipment come from Asia, with China supplanting European ‘domination’. Instruments made in Japan, and \u003Cem class=\"italic\"\u003Eeven more so\u003C\u002Fem\u003E in the United States, often remain out of reach, and are the stuff of fantasy for professionals and well-informed amateurs. There is still the informal second-hand market offering instruments from France. Technology is still involved in the very use of these tools to produce musical works and record them. Music is probably the art form that the new media, recording techniques, sound synthesis and data transmission are turning most upside down (Tesser \u003Ca class=\"xref bibr\" href=\"#REFe-r-194\" data-sectionId=\"#REFe-r-194\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tesser\u003C\u002Fspan\u003E2006\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMusic, which was already highly electronic and ‘mechanised’, has gone through a computerised phase. This change began about thirty years ago. This modernity is then expressed by its formidable capacity to appropriate the old musical heritage (sounds, rhythms, instruments, lyrics) thanks in particular to \u003Cem class=\"italic\"\u003Esampling\u003C\u002Fem\u003E. So, with these samples, taken from what is real but not necessarily new, we produce something else, something new but not necessarily new. ‘Technology’ offers a lot of ‘prefabricated’ material. In the Ivorian music world today, most people under thirty have little or no musical training. They ‘master’ technology, ‘cracking’ \u003Cem class=\"italic\"\u003Esoftware on\u003C\u002Fem\u003E the Internet, and so on. They compose from patches, but they don’t know how to use them. They compose using \u003Cem class=\"italic\"\u003Epatches\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Eloops\u003C\u002Fem\u003E, musical loops (and to a certain extent, artificial intelligence). That said, they often use African musicians as their reference point. They are on the internet, in digital social networks, sharing the same images, the same videos, and with the same culture, the same imagination as the African artists of \u003Cem class=\"italic\"\u003Ecoupé décalé\u003C\u002Fem\u003E or \u003Cem class=\"italic\"\u003Eafrobeats,\u003C\u002Fem\u003E for example, whom they adore. They haven’t experienced the music of the 1970s, 1980s and so on. They compose directly from the ‘prefabricated’. Thanks to new computer equipment and processes, electronic sounds produced by synthesisers (\u003Cem class=\"italic\"\u003Epatches\u003C\u002Fem\u003E), samples or extracts of existing music or ‘natural’ sounds taken out of their context, can be reused to make up other sound ensembles, form repetitive sound loops (\u003Cem class=\"italic\"\u003Eloops\u003C\u002Fem\u003E), \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Eand so on. These elements, designed for (trained) non-musicians, are often even downloadable (free of charge) from the Internet, and allow intuitive, non-linear composition, forcing ‘scholastics’ to adapt to the new situation.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003ETheir relatively close elders, an ‘intermediate’ generation, often in their forties and fifties, have a certain culture, firstly theoretical, and then this culture of \u003Cem class=\"italic\"\u003Epop\u003C\u002Fem\u003E music, \u003Cem class=\"italic\"\u003Erock\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Efunk\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Evariety\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003Ejazz,\u003C\u002Fem\u003E and so on. They know how to use new technologies to express their creativity and try to combine the two, namely this overall ‘musical culture’ and the resources of technology. Finally, another line, by far the most numerous, calls itself ‘tradi-modern’ and is made up of those who play – in fact translate – what they call ‘traditional’ music on modern instruments, often using Western musical codes.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn reality, the most difficult thing is to put theoretical and musical knowledge, as well as technology, at the service of creativity. Either you use the ‘prefabricated’, or you modify (you are able to modify) the \u003Cem class=\"italic\"\u003Eloops\u003C\u002Fem\u003E and, thanks to all the African instrument \u003Cem class=\"italic\"\u003Epatches\u003C\u002Fem\u003E and rhythmic loops, you are able to create African music. It’s easy to see how the possibilities are endless, and how an African musical authenticity, an Africanity of music, can be reconstructed from Western sound \u003Cem class=\"italic\"\u003Epatches\u003C\u002Fem\u003E and musical loops. The ‘digital revolution’, and in particular the mobile Internet, is driving a transformation of cultural industries worldwide. But the Ivorian context, still strongly marked by the informal music economy and a scarcity of labels, ‘is part of a service economy outside the copyright system’ (Olivier \u003Ca class=\"xref bibr\" href=\"#REFe-r-158\" data-sectionId=\"#REFe-r-158\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Olivier\u003C\u002Fspan\u003E2020\u003C\u002Fa\u003E:98). However, music is produced for the music market, with its fashions and trends (among both producers and consumers), as well as its different ‘segments’ (Ivorian diaspora, African diaspora, etc.), which are important for understanding the dynamics of ‘local’ music. The relative inflation of publishing houses is not in itself a new phenomenon: ‘The omnipotence of the distribution mechanisms available to aesthetic junk and depraved cultural goods, as well as the socially created predispositions of listeners, have, in late-stage industrial society, brought radical music into complete isolation’ (Adorno \u003Ca class=\"xref bibr\" href=\"#REFe-r-002\" data-sectionId=\"#REFe-r-002\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Adorno\u003C\u002Fspan\u003E1962\u003C\u002Fa\u003E:15).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EFor producers, a record is above all ‘a consumer product like any other’. In the Ivorian (African) music market, which is still relatively unorganised, most producers are both ‘publishers’ and ‘managers’ of artists. They can work with independent distributors. Distribution remains difficult, however, because of piracy (a parallel economy that deals a blow to local cultural industries) and the difficulties of internet access and its still high cost.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EUltimately, the production of modern popular music depends on the success of the work produced. More prosaically, it has to ‘work’. But what is the market for \u003Cem class=\"italic\"\u003Emapouka,\u003C\u002Fem\u003E with its illicit videos, for \u003Cem class=\"italic\"\u003EDJs\u003C\u002Fem\u003E, for \u003Cem class=\"italic\"\u003Ecoupé décalé\u003C\u002Fem\u003E and its ethos of showing off, for \u003Cem class=\"italic\"\u003Ezouglou,\u003C\u002Fem\u003E with its disorientated youth, or for \u003Cem class=\"italic\"\u003Ereggae,\u003C\u002Fem\u003E with its \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Eindefatigable prophets? By indigenising culture, the modernity driven by globalisation is helping to reinforce the ‘indigeneity’ of African and Ivorian music (it has to sound African and Ivorian for it to sell). Urban music has become a global phenomenon – and popular music itself is a global phenomenon. With the power of commercial marketing, popular music has become a commodity that must generate profits for its producers. It generally represents a market governed by the record industry’s \u003Cem class=\"italic\"\u003Emajor companies\u003C\u002Fem\u003E, with small record companies struggling to make do.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EExperience of the poietics of the products of the Ivorian musical (craft) industry shows that music is created and developed in a bricolage (technical and identity-based) that transcends binary analyses of traditional\u002Fmodern, interior\u002Fexterior, rural\u002Furban. In these creative adventures driven by passion and dreams of success and glory, the pieces of music are constructed over the course of the performances by the various contributions of the (many or diverse) contributors, who are de facto co-authors or co-composers. As for success in this musical universe, the Ivorian music world in the process of professionalisation resembles a social field in many respects (Bourdieu \u003Ca class=\"xref bibr\" href=\"#REFe-r-042\" data-sectionId=\"#REFe-r-042\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bourdieu\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E:28).\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"A-sec-11\" data-magellan-destination=\"A-sec-11\"\u003E\u003Ch3 class=\"A title\"\u003E\u003Cspan class=\"label\"\u003E7\u003C\u002Fspan\u003E Professionalisation or the Search for ‘\u003Cem class=\"italic\"\u003EGombos\u003C\u002Fem\u003E’? \u003C\u002Fh3\u003E\u003Cp class=\"p\"\u003EThe world of music is becoming ever more demanding and its ‘market’ ever more competitive. The professionalisation and professionalism of the players at both methodical and technical levels are a must. This is the price to pay for safeguarding the national cultural heritage, which is at the heart of the Ivorian government’s development strategy. Professionalism refers to imported and often copied structures, operations and procedures. Due to a lack of appropriate training, professionalism is still lacking among the players, and the titles they use (‘manager’, ‘producer’, ‘executive producer’, ‘artistic director’, ‘arranger’, or even ‘artist’) are mainly part of their ‘\u003Cem class=\"italic\"\u003Elook\u003C\u002Fem\u003E’. The young artist-musician often even begins to create his appearance as an artist before he has mastered his art.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe Ivorian music world is marked by the collaboration of high-level amateurs and professionals. A division of labour, notably between author and lyricist, composer, ‘musician (musicist)’, interpreter and performer (Vian \u003Ca class=\"xref bibr\" href=\"#REFe-r-207\" data-sectionId=\"#REFe-r-207\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Vian\u003C\u002Fspan\u003E1997\u003C\u002Fa\u003E:13; Agawu \u003Ca class=\"xref bibr\" href=\"#REFe-r-003\" data-sectionId=\"#REFe-r-003\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Agawu\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E:4) can help to grasp the phenomenological reality of the tasks and responsibilities of the actors in the musical art world. Each category of actor involved in the production of a musical work has ‘a bundle of tasks to accomplish. Although the division of tasks is to a large extent arbitrary (it could have been done differently, and it is only based on the agreement of all or most of the participants), it is not easy to modify for all \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Ethat’ (Becker \u003Ca class=\"xref bibr\" href=\"#REFe-r-033\" data-sectionId=\"#REFe-r-033\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Becker\u003C\u002Fspan\u003E1988\u003C\u002Fa\u003E: 37). But this division is tending to be blurred because the combination of these tasks is frequent and facilitated by the mastery of technology. The mass internet has ushered in an era of democratisation of skills, following on from political and educational democratisation. The main difference between the mass media and the web is that, on the web, amateurs take centre stage: ‘the contemporary web has become the kingdom of amateurs’ (Flichy \u003Ca class=\"xref bibr\" href=\"#REFe-r-077\" data-sectionId=\"#REFe-r-077\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Flichy\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E:7). Amateur is understood here as both producer and consumer (Flichy \u003Ca class=\"xref bibr\" href=\"#REFe-r-077\" data-sectionId=\"#REFe-r-077\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Flichy\u003C\u002Fspan\u003E2010\u003C\u002Fa\u003E:13). A (very) strong presence of amateurs at all levels of the music production chain. In this world, do-it-yourself is the order of the day, and the artist (the actor) appears as a master builder who finds himself at several points in the production chain of this cultural product. Singers are often simultaneously composers, arrangers and authors of the texts they perform.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe intervention of technology does not cancel out the artisanal aspect of music production, and the making of popular music appears to be a veritable production craft combining new and old technologies. For players who are often penniless and live by their wits, professionalism is first and foremost a question of survival. The quest for ‘\u003Cem class=\"italic\"\u003Egombos\u003C\u002Fem\u003E’, small emoluments to ‘tide them over’, illustrates the overall precariousness of the musical world, made up of players who are still poorly organised and unaware of their rights. This need for ‘gombo’, which drives people from one genre (or style) to another, is a driving force behind the (still embryonic) professionalisation of the Ivorian music scene. Popular music has enabled some young people to move from the status of ‘unemployed’ or ‘small-time earners’ with little status, to that of ‘artist’, which is more rewarding. Along with football, it is a symbol of success for young people, and its singing heroes are heralds of a politically, socially and economically dominated group. ‘Breakthrough’ in music is a dream come true. \u003Cem class=\"italic\"\u003EBreaking into\u003C\u002Fem\u003E music is a dream for many young people, almost as much as becoming an international footballer, and remains the ineffable hope of many. They enter and find themselves in a world where the competition is increasingly fierce, and where it is more and more difficult to make a name for oneself, hence the temptation to consider this world as a ‘social field’ (Bourdieu \u003Ca class=\"xref bibr\" href=\"#REFe-r-043\" data-sectionId=\"#REFe-r-043\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bourdieu\u003C\u002Fspan\u003E1984\u003C\u002Fa\u003E:113–116). Evolving in the world of musical art therefore involves forging alliances. Having a certain mastery of the new technologies (the new \u003Cem class=\"italic\"\u003Ejujus\u003C\u002Fem\u003E) is an asset for existing in and promoting productions and performances.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EAlthough few in number, record labels (e.g. Badmos) play a key role in both the ‘authenticity’ and commercial exploitation of musical heritage. Authenticity is becoming increasingly fantasised. Today, given the great mobility of people, Chinese furniture is ‘\u003Cem class=\"italic\"\u003Emade in France\u003C\u002Fem\u003E’ by French people and Asian immigrants to make it look ‘typically’ Chinese (Warnier \u003Ca class=\"xref bibr\" href=\"#REFe-r-212\" data-sectionId=\"#REFe-r-212\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Warnier and Warnier\u003C\u002Fspan\u003E1994\u003C\u002Fa\u003E:13–14; Julien 1994:30). There is a good chance that the African diviner’s cowrie shells are Chinese. \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003ESimilarly, ‘typically’ Ivorian music is often recorded outside Côte d’Ivoire (in Ghana, Nigeria, France, the USA, etc.) by a motley crew of musicians, few of whom are actually Ivorians. So what constitutes typicality, in this case Ivorian musicality? As a commodity, it is authenticated and guaranteed by a kind of stereotypical sound, imbued with a certain typicity, which in turn refers back to the Ivorian musical imagination. After all, it comes from the industrialised West. Designed and above all manufactured abroad, in a developed country, this musical merchandise has something exotic about it as well as (good) quality. ‘It is by using the market as a springboard that the exotic object, claiming an authenticity [here, Ivorian], can bounce back into the present of mass consumption’ (Warnier 1994a:13). Authenticity is (something) cobbled together. In the logic of culture-tradition, the guarantee of authenticity is linked to (stems from) a ritualised and codified process of recognition by peers and acceptance by the ‘people’, where music as such has no (real) market value. Today, it is the reputation of record labels, in particular the fame of artists’ managers, the audience of ‘cultural’ journalists, the popularity of radio and television presenters, the ‘aggressiveness’ of show promoters, the authority of music analysts (academics of all stripes and backgrounds), in short all these actions which, in some way aggregated, contribute to the ‘certification’ of the authenticity of modern popular music by making it worthy of interest. To this must be added recognition by peers (or by an influential peer) within (or in the networks of) what have been described earlier (somewhat abusively) as musical ‘tribes’. So, for example, the legitimising and authenticating authority for \u003Cem class=\"italic\"\u003Ereggae\u003C\u002Fem\u003E is Jamaica par excellence, that imaginary diasporic Ethiopia, and in particular Kingston, which is an object of adoration for \u003Cem class=\"italic\"\u003Ereggae-men.\u003C\u002Fem\u003E Alpha Blondy’s trip to Kingston, as the video clip shows, serves as much as a pilgrimage to the ‘source’ as it does a test of authentication, validation, completion and elevation of his \u003Cem class=\"italic\"\u003Ereggae\u003C\u002Fem\u003E by what represents the supreme place of creation of this musical genre.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn all lucidity, we have to admit that ‘musical domination’ is exercised with the complicity, or rather perhaps the cooperation, of the ‘dominated’ (Hennion \u003Ca class=\"xref bibr\" href=\"#REFe-r-098\" data-sectionId=\"#REFe-r-098\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Hennion\u003C\u002Fspan\u003E1981\u003C\u002Fa\u003E). Many musicians, inspired by what is happening especially in the United States in Afro-American and increasingly Nigerian circles, are tempted to create labels, often ephemeral, living only for the duration of a ‘\u003Cem class=\"italic\"\u003Esingle’\u003C\u002Fem\u003E, veritable self-promotion labels whose outdated traces can be found on this or that album or from time to time on the Internet.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EUntil recently, Côte d’Ivoire, like many African countries, did not make intellectual property (scientific, literary and artistic) a priority. Colonial legislation in this area lasted well beyond the colonial period itself. The body responsible for such rights, the Bureau ivoirien des droits d’auteurs (BURIDA), \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Ebroadly modelled on the French Société des auteurs compositeurs et éditeurs de musique (SACEM), began operations in April 1981. There were at least two reasons for this slowness: (i) the State gave priority to the economy and (ii) ‘the players in the cultural sector, faced with many other difficulties, paid little attention to the notion of copyright’ (Pierrat \u003Ca class=\"xref bibr\" href=\"#REFe-r-168\" data-sectionId=\"#REFe-r-168\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Pierrat\u003C\u002Fspan\u003E2005\u003C\u002Fa\u003E). Even today, legislation remains silent on many points (e.g. publishing contracts and the legal regime applicable to cross-border co-publications).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe Bureau ivoirien des droits d’auteurs, which still operates as an ad hoc society of authors, currently manages the rights of more than 6,000 authors, producers and internet artists, and more than 72,000 works. The artist declares his work to BURIDA, which manages the copyright. In return, it benefits from the distribution of the funds collected. These rights (or ‘\u003Cem class=\"italic\"\u003Eroyalties\u003C\u002Fem\u003E’) constitute the remuneration of the author, producer or songwriter. For political, economic and socio-cultural reasons, the Office is faced with real difficulties in administering (recording, monitoring, redistributing, archiving, managing, etc.) the rights of songwriters and composers in Côte d’Ivoire (Kossonou \u003Ca class=\"xref bibr\" href=\"#REFe-r-114\" data-sectionId=\"#REFe-r-114\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Kossonou\u003C\u002Fspan\u003E2020\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EBecause of their overwhelming numbers, the musicians de facto dominate BURIDA. Bureau ivoirien des droits d’auteurs is not really equipped to control broadcasting. Instead, this task is performed by the High Authority for Audiovisual Communication. It is easy to understand the scale of the difficulties that arise: ‘music broadcasting gives rise to a dispute between orchestras and singers on the one hand, and on the other, many radio stations that do not pay the former their royalties; the radio stations, however, ensure or maintain the success of many artists’ (Tudesq \u003Ca class=\"xref bibr\" href=\"#REFe-r-201\" data-sectionId=\"#REFe-r-201\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tudesq\u003C\u002Fspan\u003E2002\u003C\u002Fa\u003E:187).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EUnder such conditions, it seems difficult to protect the wealth of folklore (traditional works and artists, intellectual property of Indigenous peoples) and more broadly cultural heritage through intellectual property. Some even believe that Ivorians themselves should exploit this cultural wealth so that it does not come back to us in the form of prefabricated manufactured products to be used in the creation of ‘typically’ Ivorian music, while keeping us in a situation of dependence on Western producers of musical goods and products.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIt is clear that, in many cases, the traditional social institutions safeguarding the rights of traditional cultural producers have been shattered by the upheaval of the social order brought about by colonisation. The post-colonial state – particularly the body responsible for copyright – is struggling to integrate them into its modus operandi. It is clear (though difficult to accept) that the intangible assets of ancient traditional cultural agents (commonly known as folklore), regarded as anonymous and collective, are at worst illegitimately appropriated, at best cannibalised (see Diawara \u003Ca class=\"xref bibr\" href=\"#REFe-r-063\" data-sectionId=\"#REFe-r-063\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Diawarra, Röschenthaler and Diawarra\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E; Röschenthaler \u003Ca class=\"xref bibr\" href=\"#REFe-r-174\" data-sectionId=\"#REFe-r-174\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Röschenthaler, Röschenthaler and Diawarra\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EThe context for the development and creation of the performing arts is changing, with the creation of labels, (\u003Cem class=\"italic\"\u003Ehome\u003C\u002Fem\u003E)recording studios, networks of professionals and concert venues. The sector is becoming more professional, with a kind of mass production by craftsmen. For any musician (whether a beginner or not), a fundamental problem is that of local and, if possible, international visibility. This is achieved through recordings (Olivier \u003Ca class=\"xref bibr\" href=\"#REFe-r-158\" data-sectionId=\"#REFe-r-158\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Olivier\u003C\u002Fspan\u003E2020\u003C\u002Fa\u003E) and the various opportunities to be seen and heard, particularly through the media. The Market for African Performing Arts (MASA) was created to promote and develop African performing arts both locally and globally. It creates a festive space for stage performances and meetings (between artists, presenters and promoters), and subsequently a lever for raising the profile of artists and their work. However, it has not been as successful as expected in terms of attendance, audience engagement and loyalty, and promotional and commercial spin-offs. This is probably due to a strategy that is still ill-suited to the lability of the market for artistic and cultural products (Doua \u003Ca class=\"xref bibr\" href=\"#REFe-r-068\" data-sectionId=\"#REFe-r-068\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Doua\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EArtists have a complex relationship with the state media (Land \u003Ca class=\"xref bibr\" href=\"#REFe-r-120\" data-sectionId=\"#REFe-r-120\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Land\u003C\u002Fspan\u003E1995\u003C\u002Fa\u003E) and the commercial media. The latter have played an undeniable role in the ‘modernisation’ of men, the popularisation of Ivorian culture and its opening up to the outside world (Land \u003Ca class=\"xref bibr\" href=\"#REFe-r-121\" data-sectionId=\"#REFe-r-121\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Land\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E). \u003Cem class=\"italic\"\u003EVolens nolens,\u003C\u002Fem\u003E the mass media (state or commercial) remain the royal road to success for these musicians, but it remains largely inaccessible. A musician appearing on television is likely to end up on the web (the reverse is not always true). The traditional mass media remain star-making machines. They can offer platforms to musicians who get noticed and stand out on web platforms.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EToday, ‘membership of social networks also enables [young artists] to develop their talent. They become part of different social circles that provide them with the resources they need to realise their dream: to promote their musical talent and gain notoriety’ (Asinome \u003Ca class=\"xref bibr\" href=\"#REFe-r-011\" data-sectionId=\"#REFe-r-011\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Asinome\u003C\u002Fspan\u003E2017\u003C\u002Fa\u003E:177). With Internet platforms, a digital transformation is underway in Côte d’Ivoire. Artistic creation – particularly musical creation – is affected by commercial networking via the Internet. This is the path currently being taken by ‘young talent’ in need of funding. They see free web platforms (\u003Cem class=\"italic\"\u003EYouTube\u003C\u002Fem\u003E, \u003Cem class=\"italic\"\u003ESoundCloud\u003C\u002Fem\u003E, even \u003Cem class=\"italic\"\u003EFacebook\u003C\u002Fem\u003E, etc.) as public virtual spaces for promoting their art and building an artistic identity to try to enter a cultural market that has become highly competitive and launch their careers. They hope, through ‘\u003Cem class=\"italic\"\u003Eviews\u003C\u002Fem\u003E’, ‘\u003Cem class=\"italic\"\u003Elikes\u003C\u002Fem\u003E’, ‘\u003Cem class=\"italic\"\u003Eshares’\u003C\u002Fem\u003E and even positive comments, if not to create a \u003Cem class=\"italic\"\u003Ebuzz\u003C\u002Fem\u003E, at least to interest a producer or benefactor. Social networks are therefore of real importance in winning over an audience, a public, a ‘market’.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe traditional mass media are adapting as much as possible to the new context created by new technologies by setting up websites and social \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Enetworking platforms offering all or part of their programmes for free listening. The great diversity of these programmes has often been mistaken for clear evidence of the cultural imperialism of which Côte d’Ivoire (like many other countries) was a victim. The programmes could even be condemned as vectors of cultural alienation.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003ETechnology is bringing about spatio-temporal changes, particularly in the speed of access, production and distribution it offers. The very way in which music is created has changed, bringing with it a new relationship between creators and consumers, both to the world of music and to music itself. The desire to succeed has led to expatriation, particularly to Europe, to places where ‘\u003Cem class=\"italic\"\u003Eart is considered\u003C\u002Fem\u003E’, where talent can be developed and where artistic expression can flourish.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe social status and social condition of the artist, past and present, are critical sites of cultural heritage. In traditional society, the artist, the chansonnier, enjoyed (and still enjoys) an honourable status – an honourability that is above all symbolic (Séry \u003Ca class=\"xref bibr\" href=\"#REFe-r-190\" data-sectionId=\"#REFe-r-190\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Séry\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E; Tapé \u003Ca class=\"xref bibr\" href=\"#REFe-r-192\" data-sectionId=\"#REFe-r-192\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tapé and Wondji\u003C\u002Fspan\u003E1986\u003C\u002Fa\u003E:149–151). In Nubian Africa, art was not considered the preserve of a secret society. From this came ‘a profound affirmation of people’s belief in the indivisibility of art and society’ (Achebe \u003Ca class=\"xref bibr\" href=\"#REFe-r-001\" data-sectionId=\"#REFe-r-001\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Achebe\u003C\u002Fspan\u003E1973\u003C\u002Fa\u003E:620). The expression ‘Nubian Africa’ (coined by Cheik Anta Diop), whose supposed unity is borrowed from theories of Africanness, has the advantage of de-racialising and de-physicalising an Africa still characterised by its ancient and modern observers as a race and an ecosystem. It also makes it possible to characterise Africa ‘in terms of social and cultural history, in short, in anthropological terms’ (Memel-Fotê \u003Ca class=\"xref bibr\" href=\"#REFe-r-136\" data-sectionId=\"#REFe-r-136\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Memel-Fotê\u003C\u002Fspan\u003E1991\u003C\u002Fa\u003E:1).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EIn traditional African society, music, ‘conceived as a high ideological instance’, functioned as a socio-cultural support tool at key moments in ritual life (initiation, marriage, funerals) and in the economic and political spheres: ‘the omnipresent and omnipotent character of this music was ensured by a certain authoritative, quasi-sacred word which, in our opinion, constitutes a further demonstration of the importance attached to art in traditional society’ (Dédy \u003Ca class=\"xref bibr\" href=\"#REFe-r-061\" data-sectionId=\"#REFe-r-061\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Dédy\u003C\u002Fspan\u003E1984\u003C\u002Fa\u003E:113).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMoreover, the fact that ‘there are no rigid barriers between the creators of culture and the consumers [and that] art belongs to everyone and is a “function” of society’ (Achebe \u003Ca class=\"xref bibr\" href=\"#REFe-r-001\" data-sectionId=\"#REFe-r-001\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Achebe\u003C\u002Fspan\u003E1973\u003C\u002Fa\u003E:621) comes from this Nubian Africa of the holistic concern of the societies that make it up (Achebe \u003Ca class=\"xref bibr\" href=\"#REFe-r-001\" data-sectionId=\"#REFe-r-001\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Achebe\u003C\u002Fspan\u003E1973\u003C\u002Fa\u003E; Dédy \u003Ca class=\"xref bibr\" href=\"#REFe-r-060\" data-sectionId=\"#REFe-r-060\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Dédy and Wondji\u003C\u002Fspan\u003E1986\u003C\u002Fa\u003E; Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E; Séry \u003Ca class=\"xref bibr\" href=\"#REFe-r-190\" data-sectionId=\"#REFe-r-190\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Séry\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E). Musical performances are a good illustration of this: the Western divide between stage and audience is erased when spectators, no longer able to hold back, burst in during the concert to encourage the artist (by wiping his forehead, dancing a little with him, kissing him, giving him banknotes, etc.). Like the \u003Cem class=\"italic\"\u003Ebagnon of\u003C\u002Fem\u003E the \u003Cem class=\"italic\"\u003EKrou\u003C\u002Fem\u003E societies of western and central western Côte \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Ed’Ivoire, the artist, whether a star or just passing through, is admired physically, morally and intellectually (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-219\" data-sectionId=\"#REFe-r-219\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986b\u003C\u002Fa\u003E:59, 71). The town will only show the obvious side, that of the entertainer, the one without whom, despite everything, the party cannot be complete.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EToday’s artist-musicians face serious problems of recognition both during their lifetime and posthumously. Many of their works are illegally exploited. This is much more widespread than one might imagine, and does not only concern so-called ‘traditional’ or ‘local’ musicians, who are often poorly trained, but also eminent musicians with established international reputations, as in the case of Manu Dibango (cf. Pajon \u003Ca class=\"xref bibr\" href=\"#REFe-r-163\" data-sectionId=\"#REFe-r-163\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Pajon\u003C\u002Fspan\u003E2021\u003C\u002Fa\u003E:54–55).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EWhile the artist may enjoy a degree of honour, even symbolic, his or her social status is often precarious. Today, the singer-musician is often regarded as a ‘poor soul’, at best a penny-pincher, bohemian, unserious, flighty. His portrait as a balladeer is not very glowing. The artist-musician remained vulnerable, and many of them fell into decay and oblivion without ever having achieved fame or fortune. Appeals for charity for the health problems of this or that musician are frequently in the press. The outcome is usually fatal, and the artist dies destitute (Séry \u003Ca class=\"xref bibr\" href=\"#REFe-r-190\" data-sectionId=\"#REFe-r-190\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Séry\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E). In short, while the musician-artist, past and present, enjoys a certain prestige, his or her ‘social condition’ is still generally one of precariousness. This condition resurfaces at the death or funeral of a particular artist. But the problem transcends time and remains virtually unchanged.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EGenerally speaking, there is a continuity between the popular music of yesterday and that of today. This continuity tends to be disrupted by the use of technology.\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"sec\" id=\"A-sec-12\" data-magellan-destination=\"A-sec-12\"\u003E\u003Ch3 class=\"A title\"\u003E\u003Cspan class=\"label\"\u003E8\u003C\u002Fspan\u003E Between Entertainment and Popular Intellectuality \u003C\u002Fh3\u003E\u003Cp class=\"p\"\u003EAn in-depth examination of the points of rupture and continuity between the ‘traditional’ singer and the ‘modern’ singer shows that popular intellectuality constitutes the true cultural heritage of music. The music changes, but the heritage remains, ensuring a kind of artistic\u002Fintellectual continuity in the art of music. The modern popular song, elusive and untameable, is a place where popular intellectuality is expressed by singer-artists considered to be popular intellectuals.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EPopular music was also the ‘overlord’ of entertainment. Ordinary festive places marked by fusion, effusion and confusion, the excesses of orgiasm, become popular means of disseminating popular music and bringing it into contact with the population. These non-places (Augé \u003Ca class=\"xref bibr\" href=\"#REFe-r-012\" data-sectionId=\"#REFe-r-012\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Augé\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E), veritable places of enchantment (Winkin \u003Ca class=\"xref bibr\" href=\"#REFe-r-216\" data-sectionId=\"#REFe-r-216\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Winkin\u003C\u002Fspan\u003E2001\u003C\u002Fa\u003E), liminoid spaces (Turner \u003Ca class=\"xref bibr\" href=\"#REFe-r-204\" data-sectionId=\"#REFe-r-204\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Turner\u003C\u002Fspan\u003E1988\u003C\u002Fa\u003E), are also places where artists-singers perform. Performed music, a living spectacle, restores and \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Emobilises the physicality of the spoken word, unlike writing. Modern popular song thus reflects the heritage of the ‘traditional’ storyteller\u002Fmusician and the question of the ‘message’ or ‘moral’ of the story being told, and how this fits in with the (bizarre) democratic order.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe artist is, physically or through the mediation of the recording, at once the master, the host, the soul, the spirit, the breath of the party (Duvignaud \u003Ca class=\"xref bibr\" href=\"#REFe-r-071\" data-sectionId=\"#REFe-r-071\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Duvignaud\u003C\u002Fspan\u003E1991\u003C\u002Fa\u003E). He is a liminal being (Turner \u003Ca class=\"xref bibr\" href=\"#REFe-r-205\" data-sectionId=\"#REFe-r-205\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Turner\u003C\u002Fspan\u003E1969[1997]\u003C\u002Fa\u003E) in the same way as (\u003Cem class=\"italic\"\u003Ehome)\u003C\u002Fem\u003Estudio arrangers. He gives of himself and his talent. The affirmation of the gift lies in the idea that ‘the link is more important than the material [good]’ (Caillé \u003Ca class=\"xref bibr\" href=\"#REFe-r-048\" data-sectionId=\"#REFe-r-048\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Caillé\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:9). Giving implies alliance and communion. The artist (in this case the musician) ‘gives’ to others something that may be the gift of self or the gift of speech. Artistic speech is an immemorial means by which ‘man has always used art as a means of becoming aware of the highest ideas and interests of his mind. Peoples have deposited their highest conceptions in the productions of art, have expressed them and have become aware of them by means of art’ (Hegel ed. \u003Ca class=\"xref bibr\" href=\"#REFe-r-097\" data-sectionId=\"#REFe-r-097\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Hegel\u003C\u002Fspan\u003E1964\u003C\u002Fa\u003E:12–13). The artist-singer, guardian of moral values (Tapé \u003Ca class=\"xref bibr\" href=\"#REFe-r-193\" data-sectionId=\"#REFe-r-193\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tapé and Wondji\u003C\u002Fspan\u003E1986b\u003C\u002Fa\u003E), offers the world the object of his creative inspiration, the fruit of his reflections, his thoughts. Yet they remain attached to what they ‘give’, because there is always something of themselves in their work. This gift of knowledge and\u002For self contains a link. The artist-musician is this human benefactor who, by giving his life and labour to the community, manifests ‘the joy of giving in public, the pleasure of generous artistic expenditure; the pleasure of hospitality and of private and public celebration’, following an enduring principle: ‘to come out of oneself, to give, freely and obligatorily’ (Mauss \u003Ca class=\"xref bibr\" href=\"#REFe-r-133\" data-sectionId=\"#REFe-r-133\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mauss\u003C\u002Fspan\u003E1925[2012]\u003C\u002Fa\u003E:216–222). What’s more: ‘If we give things and return them, it’s because we give and return \u003Cem class=\"italic\"\u003Eeach other\u003C\u002Fem\u003E “respects” – we still say “courtesies”. But it’s also because we give \u003Cem class=\"italic\"\u003Eourselves\u003C\u002Fem\u003E by giving, and if we give \u003Cem class=\"italic\"\u003Eourselves\u003C\u002Fem\u003E, it’s because we “owe” \u003Cem class=\"italic\"\u003Eourselves –\u003C\u002Fem\u003E ourselves and our property – to others’ (Mauss \u003Ca class=\"xref bibr\" href=\"#REFe-r-133\" data-sectionId=\"#REFe-r-133\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mauss\u003C\u002Fspan\u003E1925[2012]\u003C\u002Fa\u003E:171). It is in this way, in a logic of counter-giving itself calling for emulation-competition\u002Fcompetition between (counter-)givers, that we can explain\u002Funderstand the (re)actions, burlesque in appearance, of the audience (see above) who come into direct contact with the performer.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe artist-musician is the ‘man of the people’, a kind of folk hero whose philosophy is based primarily on faith in the social group to which he belongs, because ‘in a diffuse way, he thinks things the way he does: the man of the people thinks that such a large mass cannot be so completely wrong’ (Gramsci \u003Ca class=\"xref bibr\" href=\"#REFe-r-092\" data-sectionId=\"#REFe-r-092\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gramsci\u003C\u002Fspan\u003E1983\u003C\u002Fa\u003E:154). This is what makes the artist a voice of the people.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003ELike the folk tale, the song of the \u003Cem class=\"italic\"\u003Etohourou\u003C\u002Fem\u003E or the melody of the chansonnier, the modern folk song tells an entertaining story, can ‘create a spectacle that is at the same time a place of truth. Of course, the story (\u003Cem class=\"italic\"\u003Efabula\u003C\u002Fem\u003E) changes, since it \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Edepends on circumstances and other more or less controlled events’ (Bahi \u003Ca class=\"xref bibr\" href=\"#REFe-r-021\" data-sectionId=\"#REFe-r-021\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bahi\u003C\u002Fspan\u003E1994\u003C\u002Fa\u003E:251). The modern singer pulls ‘strings’ from all possible repertoires, borrowing procedures, formulas, allegories and metaphorical subtleties from the traditional masters of the spoken word for his sung narratives.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EPopular music \u003Cem class=\"italic\"\u003Ein the broadest sense of the term\u003C\u002Fem\u003E is also the expression of a popular intellectuality. The expression ‘popular intellectual’ may seem surprising because it combines two apparently antinomic terms. ‘Intellectuality’ here refers to the fact that a person is intellectual, or to his or her ability to be intellectual. Most conceptions of the intellectual are not free of elitist considerations. The intellectual is not necessarily a Western scholar. The scholar is not necessarily an intellectual (Sartre \u003Ca class=\"xref bibr\" href=\"#REFe-r-184\" data-sectionId=\"#REFe-r-184\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Sartre\u003C\u002Fspan\u003E1972\u003C\u002Fa\u003E; Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-218\" data-sectionId=\"#REFe-r-218\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986a\u003C\u002Fa\u003E; Séry \u003Ca class=\"xref bibr\" href=\"#REFe-r-190\" data-sectionId=\"#REFe-r-190\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Séry\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E). Reflection on the intellectual is always threatened by a certain intellectualism that is itself imbued with a certain elitism.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe term ‘popular’ presupposes and posits the most effective language and mode of resistance (Hall \u003Ca class=\"xref bibr\" href=\"#REFe-r-095\" data-sectionId=\"#REFe-r-095\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Hall and Cervulle\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E). A world-famous – and therefore popular – intellectual is no less an intellectual. As a result of globalisation and the ability of individuals to make themselves ‘heard’, no one has a monopoly on legitimate intellectual thought. The artist-musician, as a free-spirited man of the people, has a certain authority, and is often even authoritative, because people recognise his behaviour, his ‘knowledge and skills’, and see in him an exceptional being.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe artist-musician is the ideological and moral sentinel of society (and not just of the village from which he comes). As an intellectual born of the people, he speaks with authority by virtue of his social position. Words of authority operate ‘thanks to the assistance of social mechanisms capable of producing that complicity, based on ignorance, which is at the root of all authority’ (Bourdieu \u003Ca class=\"xref bibr\" href=\"#REFe-r-042\" data-sectionId=\"#REFe-r-042\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bourdieu\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E:113). Authority refers to the social unconscious. It is ‘the attestation of the order of values, representations and systems of unconscious representations to which individuals and groups refer in life’ (Moreau de Bellaing \u003Ca class=\"xref bibr\" href=\"#REFe-r-143\" data-sectionId=\"#REFe-r-143\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Moreau de Bellaing\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E:62). The artist-musician is thus a non-authoritarian authority, even a ‘charismatic’ authority (Weber \u003Ca class=\"xref bibr\" href=\"#REFe-r-215\" data-sectionId=\"#REFe-r-215\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Weber\u003C\u002Fspan\u003E1971[1995]\u003C\u002Fa\u003E:320, 325) as much as a traditional or rational authority, because of his exceptional qualities. There is a continuity between this authority operating mainly in primary sociality (on the scale of the village, neighbourhood or maquis), and that acting in secondary sociality (in global social relations) (Moreau de Bellaing \u003Ca class=\"xref bibr\" href=\"#REFe-r-143\" data-sectionId=\"#REFe-r-143\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Moreau de Bellaing\u003C\u002Fspan\u003E1990\u003C\u002Fa\u003E:58–59). The artist-musician embodies the reminiscences of an anthropological form of authority, separate from power, invested with a ‘mythical’ authority that legitimises his acts and (sung) words.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThus, the (original) griot, the Bété \u003Cem class=\"italic\"\u003Etohourou\u003C\u002Fem\u003E, the Baoulé chansonnier and the sénoufo \u003Cem class=\"italic\"\u003Edjéguélés\u003C\u002Fem\u003E perform educational, social, ethical and political functions (Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-219\" data-sectionId=\"#REFe-r-219\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986b\u003C\u002Fa\u003E; Camara \u003Ca class=\"xref bibr\" href=\"#REFe-r-049\" data-sectionId=\"#REFe-r-049\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Camara\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E; \u003Ca class=\"xref bibr\" href=\"#REFe-r-112\" data-sectionId=\"#REFe-r-112\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Koné and Paris\u003C\u002Fspan\u003EKoné 2020\u003C\u002Fa\u003E). However, ‘no musical form carries \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Ewith it the slightest political or social orientation’ (Martin \u003Ca class=\"xref bibr\" href=\"#REFe-r-171\" data-sectionId=\"#REFe-r-171\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Martin\u003C\u002Fspan\u003E2000\u003C\u002Fa\u003E:170), so it is a social desire to invert or convert music to this task that is at work. The griot, master of the spoken word and a plural character, strengthens the social bond ‘through multiform mediation between all the actors in the community. This generally makes him a public figure and an intellectual among the intellectuals of the city’ (Ouattara \u003Ca class=\"xref bibr\" href=\"#REFe-r-159\" data-sectionId=\"#REFe-r-159\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Ouattara\u003C\u002Fspan\u003E2018\u003C\u002Fa\u003E:44). Alongside storytellers and healers, these singer-artists are part of local intellectual traditions.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cem class=\"italic\"\u003ENolens volens\u003C\u002Fem\u003E, these artist-musicians are ‘elites of intellectuals of a new type [emerging] directly from the mass out while remaining in contact with it’ (Gramsci \u003Ca class=\"xref bibr\" href=\"#REFe-r-092\" data-sectionId=\"#REFe-r-092\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gramsci\u003C\u002Fspan\u003E1983\u003C\u002Fa\u003E:155). As an intellectual, the artist is a model for others: ‘the artist of yesterday resembles the intellectual of today. He influences society through the beauty of his ideas’ (Tapé \u003Ca class=\"xref bibr\" href=\"#REFe-r-193\" data-sectionId=\"#REFe-r-193\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tapé and Wondji\u003C\u002Fspan\u003E1986b\u003C\u002Fa\u003E:151). From the Masque chanteur, to the \u003Cem class=\"italic\"\u003ETohourou\u003C\u002Fem\u003E, to the ‘traditional chansonnier’, then to the modern singer, there seems to be continuity rather than rupture. The popular intellectual himself is a spokesman for the people. A hero as much as a herald, heroic because heraldic, the popular singer is allowed to give advice, to teach in the public square. With a ‘didactic’ aim, these narrations are a mirror of society’s ethical conceptions (Bahi \u003Ca class=\"xref bibr\" href=\"#REFe-r-021\" data-sectionId=\"#REFe-r-021\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bahi\u003C\u002Fspan\u003E1994\u003C\u002Fa\u003E). Giving advice, teaching and moralising are often done through a diversion, in allegorical form. There are many examples. ‘Several songs evoke in humorous terms the pain of Africans faced with a life they have no control over and which eludes them’ (Mbembe \u003Ca class=\"xref bibr\" href=\"#REFe-r-135\" data-sectionId=\"#REFe-r-135\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mbembe\u003C\u002Fspan\u003E1985\u003C\u002Fa\u003E:143). Artists are not necessarily commissioned or paid to do this. They take their responsibilities.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EAs a performance and an artistic space, an emotive and poetic instance (Herndon \u003Ca class=\"xref bibr\" href=\"#REFe-r-100\" data-sectionId=\"#REFe-r-100\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Herndon and Bauman\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E:164), popular song is a purveyor of ‘myths’ (Lévi-Strauss \u003Ca class=\"xref bibr\" href=\"#REFe-r-126\" data-sectionId=\"#REFe-r-126\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Lévi-Strauss\u003C\u002Fspan\u003E1958[1974]\u003C\u002Fa\u003E) and is endowed with an interpellative, referential and conative capacity, hence its communicative competence. Once disseminated by the media, it lends itself easily to consciousness-raising initiatives. Popular song, an activity of the mind by artists who are often committed to delivering the fruits of their reflections in the public arena, is one of the places where popular intellectuality is expressed. This intellectuality is deeply rooted in culture, particularly ‘tradition’ (the singer-songwriter mask, etc.), whose mutations place today’s modern artist in a logic of continuity. With technology, the modern artist-singer remodels features of the traditional artist-singer and extends the \u003Cem class=\"italic\"\u003Etekhnè\u003C\u002Fem\u003E (Laye \u003Ca class=\"xref bibr\" href=\"#REFe-r-122\" data-sectionId=\"#REFe-r-122\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Laye\u003C\u002Fspan\u003E1978\u003C\u002Fa\u003E; Wondji \u003Ca class=\"xref bibr\" href=\"#REFe-r-219\" data-sectionId=\"#REFe-r-219\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Wondji and Wondji\u003C\u002Fspan\u003E1986b\u003C\u002Fa\u003E; Camara \u003Ca class=\"xref bibr\" href=\"#REFe-r-049\" data-sectionId=\"#REFe-r-049\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Camara\u003C\u002Fspan\u003E1992\u003C\u002Fa\u003E): ‘yesterday’s artist resembles today’s intellectual. He influences society through the beauty of his ideas’ (Tapé \u003Ca class=\"xref bibr\" href=\"#REFe-r-193\" data-sectionId=\"#REFe-r-193\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Tapé and Wondji\u003C\u002Fspan\u003E1986b\u003C\u002Fa\u003E:151).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EMusician-artists can be considered as ‘popular intellectuals’, in the same way as street discussion leaders who call themselves ‘street intellectuals’ (Bahi \u003Ca class=\"xref bibr\" href=\"#REFe-r-016\" data-sectionId=\"#REFe-r-016\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bahi\u003C\u002Fspan\u003E2013\u003C\u002Fa\u003E). The intellectual of the traditional milieu, the ‘village intellectual’ (Séry \u003Ca class=\"xref bibr\" href=\"#REFe-r-190\" data-sectionId=\"#REFe-r-190\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Séry\u003C\u002Fspan\u003E2015\u003C\u002Fa\u003E:44, 46), the ‘vernacular intellectual’ (Farred \u003Ca class=\"xref bibr\" href=\"#REFe-r-075\" data-sectionId=\"#REFe-r-075\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Farred\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E), is not the literate person of the village, the one who attended school. ‘An “illiterate intellectual”, \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Ehe is one of the “traditionalists”, “wise men” and thinkers who, along with politicians and journalists, “function as” intellectuals’ (Copans \u003Ca class=\"xref bibr\" href=\"#REFe-r-057\" data-sectionId=\"#REFe-r-057\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Copans\u003C\u002Fspan\u003E1993\u003C\u002Fa\u003E:8). Unlike the modern African intellectual, the illiterate ‘traditional’ intellectual is neither an ‘outsider’ among his own people (Toulabor \u003Ca class=\"xref bibr\" href=\"#REFe-r-198\" data-sectionId=\"#REFe-r-198\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Toulabor\u003C\u002Fspan\u003E1993\u003C\u002Fa\u003E), nor the regal heir of the colonial state. Rather, he is one of its collateral victims, reduced to a ‘folkloric’ figure in the most depreciatory sense of the term. It has remained present in society and active at key moments in social life (celebrations, commemorations, funerals, etc.). But this reduction has, if not reduced him to symbolic death, at least neutralised his action.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EFigures of popular culture, these authentic ‘intellectuals from below’ (Touraine 1992), can be called ‘invisible intellectuals’ because they are ‘actors in the processes of intelligibility of the world who are not yet socially stamped and classified in a special category’ (Copans \u003Ca class=\"xref bibr\" href=\"#REFe-r-057\" data-sectionId=\"#REFe-r-057\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Copans\u003C\u002Fspan\u003E1993\u003C\u002Fa\u003E:17). Singers and other intermediate categories (investigative journalists), these ‘\u003Cem class=\"italic\"\u003Epractitioners of the unveiling of the reality effect are invisible intellectuals\u003C\u002Fem\u003E … sensitive to the expectations of their real, imaginary or simply potential audiences’ (Copans \u003Ca class=\"xref bibr\" href=\"#REFe-r-057\" data-sectionId=\"#REFe-r-057\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Copans\u003C\u002Fspan\u003E1993\u003C\u002Fa\u003E:23–24). Ultimately, whatever their training and trajectory, the characteristic of these intellectuals or thinkers is ‘vernacularity’, indicating ‘the discursive hijacking of the accepted dominant intellectual modality and vocabulary and the adoption of a new positioning and idiomatic language’ (Farred \u003Ca class=\"xref bibr\" href=\"#REFe-r-075\" data-sectionId=\"#REFe-r-075\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Farred\u003C\u002Fspan\u003E2003\u003C\u002Fa\u003E:11).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EContrary to prevailing conceptions, intellectuality is not the exclusive preserve of people who are necessarily educated in Western schools, inevitably candidates for assimilation and inevitably doomed to cultural alienation. A distinction can be made between ‘intellectuals’ and ‘technicians of practical knowledge’ (Sartre \u003Ca class=\"xref bibr\" href=\"#REFe-r-184\" data-sectionId=\"#REFe-r-184\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Sartre\u003C\u002Fspan\u003E1972\u003C\u002Fa\u003E:16–18). These two social categories are often confused. In most conceptualisations of intellectuals, the latter takes precedence over the former. However erudite they may be, specialists in practical knowledge are not necessarily ‘intellectuals’.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EToday, the term ‘intellectual’ is somewhat overused. While they were often the soul of liberating nationalisms, they have become the blemish of the post-colonial era, going ‘from the status of a badge of pride to a term of abuse and derision’ (Mkandawire \u003Ca class=\"xref bibr\" href=\"#REFe-r-140\" data-sectionId=\"#REFe-r-140\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mkandawire and Mkandawire\u003C\u002Fspan\u003E2005\u003C\u002Fa\u003E:3). The image of the ‘classical’ intellectual elites from Western schools is a mixed one. They enjoy a certain prestige because of their cultural, economic, social and even symbolic capital (Bourdieu), which makes them invaluable supporters. But at the same time, they are seen as corrupt (‘\u003Cem class=\"italic\"\u003Ethey eat\u003C\u002Fem\u003E’, and often ‘\u003Cem class=\"italic\"\u003Ealone’\u003C\u002Fem\u003E), far removed from the concerns of ordinary people, and are therefore in a certain disgrace in people’s minds. In many rural areas, they are referred to as ‘Whites’, illustrating the distance that separates them from their compatriots. Worse still, they are seen as accomplices, if not culprits, in the country’s relative failure.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EPopular intellectuals are not simply relays of ‘patented’ (‘classic’) intellectuals. They do more than simply take over from the patent intellectuals ‘in the field of social criticism, while at the same time taking on the educational function traditionally assigned to them’ (Albert & Kouvouama \u003Ca class=\"xref bibr\" href=\"#REFe-r-005\" data-sectionId=\"#REFe-r-005\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Albert, Kouvouama, Maupeu, Albert and Kouvouama\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:17). The novelty comes from the late discovery of this ancient cultural trait by these Western scholars and their late interest in the figure of the singer-artist. This traditional intellectual function is often overlooked in popular music research. Instead, folk singers develop an intellectuality fuelled by the currents of thought, causes and debates of their time. They fulfil a mission of popular consciousness. The exercise of this popular intellectuality, which constitutes another voice of social criticism, does not delegitimise the function and role of the ‘classical’ (‘patented’) intellectual. But this position of the popular intellectual is relatively uncomfortable because, \u003Cem class=\"italic\"\u003Enolens volens,\u003C\u002Fem\u003E the intellectual and the popular are in a relationship of complementarity as much as contradiction, ‘a paradoxical relationship’ (Albert & Kouvouama \u003Ca class=\"xref bibr\" href=\"#REFe-r-005\" data-sectionId=\"#REFe-r-005\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Albert, Kouvouama, Maupeu, Albert and Kouvouama\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EHowever, the popular intellectual (coming from the people and speaking in their name), given his cultural capital and the distance thus induced, remains in a situation of exteriority and his discourse remote from the people (Albert & Kouvouama \u003Ca class=\"xref bibr\" href=\"#REFe-r-005\" data-sectionId=\"#REFe-r-005\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Albert, Kouvouama, Maupeu, Albert and Kouvouama\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:17). Singer-artists (griots, storytellers or genealogists, traditional songwriters, etc.), as scholars, custodians of traditions and creators of culture, belong to the corporation or community of intellectuals. The concept of the popular intellectual is thus part of an Indigenous definition of intellectuals ‘from below’ – ‘traditional’ society and the ‘people’ being dominated by (post)modern Western society. It is reinforced by a sense of cultural continuity and a reinvention of the social role of the artist.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EAs members of an ‘interpretative community’, popular intellectuals propose ‘representations’ of their society (Becker \u003Ca class=\"xref bibr\" href=\"#REFe-r-032\" data-sectionId=\"#REFe-r-032\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Becker\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E:19). In so doing, they set themselves up as spokespersons for this community, while at the same time taking a stand. He then produces ‘A report on social reality [that] is [therefore] an artefact consisting of statements of fact, based on evidence acceptable to a given audience, and interpretations of these facts, also acceptable to that audience’ (Becker \u003Ca class=\"xref bibr\" href=\"#REFe-r-032\" data-sectionId=\"#REFe-r-032\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Becker\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E:28). In the current conditions of production and circulation of musical works, these artists are more likely to be relays of popular social criticism (Albert & Kouvouama \u003Ca class=\"xref bibr\" href=\"#REFe-r-005\" data-sectionId=\"#REFe-r-005\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Albert, Kouvouama, Maupeu, Albert and Kouvouama\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:18). Popular music is thus one of the expressions of the infra-politics of the dominated (Scott \u003Ca class=\"xref bibr\" href=\"#REFe-r-188\" data-sectionId=\"#REFe-r-188\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Scott\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E). These reports on society (these representations of society) ‘are demonstrations designed to persuade their audience of something, if only by taking that something for granted’ (Becker \u003Ca class=\"xref bibr\" href=\"#REFe-r-032\" data-sectionId=\"#REFe-r-032\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Becker\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E:41). The way power is expressed through humour and derision conceals a great deal of violence. It echoes the expression of ordinary violence (ordinary verbal violence, street violence, etc.).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003E\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003EThere is certainly a risk that the entertainment aspect will be perceived but not the ‘didactic’ one. Moreover, the step from awareness to manipulation (influence, effect-efficiency, consequence) is a short one. Modern popular music is not a manipulative device performed by musicians under orders. Through it, young popular intellectuals have discovered their mission and are fulfilling it (Fanon \u003Ca class=\"xref bibr\" href=\"#REFe-r-074\" data-sectionId=\"#REFe-r-074\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Fanon\u003C\u002Fspan\u003E1961[2002]\u003C\u002Fa\u003E:197) in order to influence decisions and assume their responsibilities before history (Dagri \u003Ca class=\"xref bibr\" href=\"#REFe-r-059\" data-sectionId=\"#REFe-r-059\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Dagri\u003C\u002Fspan\u003E2019b\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe artist’s ‘vocation is to educate men, and he must be continually vigilant in his role as guide’ (Masselis \u003Ca class=\"xref bibr\" href=\"#REFe-r-131\" data-sectionId=\"#REFe-r-131\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Masselis\u003C\u002Fspan\u003E2016\u003C\u002Fa\u003E; Plato \u003Ca class=\"xref bibr\" href=\"#REFe-r-169\" data-sectionId=\"#REFe-r-169\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Plato\u003C\u002Fspan\u003E1966\u003C\u002Fa\u003E:126–127). The singer may be a poet or a chronicler. As a poet, he deals with the general; as a chronicler, he deals with the particular. The difference between the poet and the chronicler is not one of expression, in verse or prose. Rather, ‘one tells what has happened, the other what might happen; for this reason poetry is more philosophical than chronicle: poetry deals more with the general, chronicle with the particular’ (Aristotle \u003Ca class=\"xref bibr\" href=\"#REFe-r-009\" data-sectionId=\"#REFe-r-009\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Aristotle\u003C\u002Fspan\u003E1980\u003C\u002Fa\u003E).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EBecause of their very nature and social formation, intellectuals develop much more slowly than other social groups. ‘They represent the entire cultural tradition of a people, and want to summarise and synthesise its entire history’ (Gramsci \u003Ca class=\"xref bibr\" href=\"#REFe-r-092\" data-sectionId=\"#REFe-r-092\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gramsci\u003C\u002Fspan\u003E1983\u003C\u002Fa\u003E:100). Their mission is to be educators, teachers (Gramsci \u003Ca class=\"xref bibr\" href=\"#REFe-r-092\" data-sectionId=\"#REFe-r-092\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gramsci\u003C\u002Fspan\u003E1983\u003C\u002Fa\u003E:50). There is always more or less a gap between the intellectual (higher) categories and the masses (lower) categories, which makes the intellectuals’ task difficult. But what is most notable is that Ivorian intellectuals (as it happens) symbolically leave a void characterised by this situation (Eboussi-Boulaga \u003Ca class=\"xref bibr\" href=\"#REFe-r-072\" data-sectionId=\"#REFe-r-072\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Eboussi Boulaga\u003C\u002Fspan\u003E1977\u003C\u002Fa\u003E). This loss of reference points and values is replaced by a technicist and economic discourse of development. This headlong rush impoverishes the debate and leaves Africans with a deep sense of backwardness and exclusive guilt. These popular intellectuals have been trying to fill this gap ever since. These popular intellectuals would somehow fulfil the authentic (true) mission of intellectuals. But would these popular intellectuals really be able to bridge the gap (the distance) between the intellectuals and the ‘popular masses’? Can they escape the attempts to tame power? Power is always trying to tame the arts, and music is communication. Communication ‘converts relations of brute force, always uncertain and liable to be suspended, into lasting relations of symbolic power by which we are held and to which we feel held’ (Bourdieu \u003Ca class=\"xref bibr\" href=\"#REFe-r-041\" data-sectionId=\"#REFe-r-041\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Bourdieu\u003C\u002Fspan\u003E1997\u003C\u002Fa\u003E:237).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThere is always something disloyal or treacherous about African criticism of Africa and Africans. Certain criticisms and self-criticisms by patent African intellectuals, endorsed and authorised by the normal science of the former coloniser, anointed by the dominators of this world, talking from the West, and quick to give lessons to Africans, play right into the hands of Western domination. The African intellectual, aware of his double game, his murky game, his concupiscence, knows that he is part of the problems he wants to \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Esolve. Popular music can play the role of ‘tutor’, ‘adviser’ or even ‘censor’ (Gondola \u003Ca class=\"xref bibr\" href=\"#REFe-r-090\" data-sectionId=\"#REFe-r-090\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Gondola\u003C\u002Fspan\u003E1997\u003C\u002Fa\u003E:58).\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EOn the strength of their intellectuality and their charismatic authority recognised by their audience, singers can tackle all sorts of subjects, but in their own way. Musicians talk about [certain aspects of] society, talk about [certain aspects of] everyday life: song lyrics are ways of talking about society: they often contain ‘relevant observations about the organisation and functioning of society [which are also] ways in which people tell others what they know about their society, or about another that interests them’ (Becker \u003Ca class=\"xref bibr\" href=\"#REFe-r-032\" data-sectionId=\"#REFe-r-032\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Becker\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E:18–19) and which therefore constitute what Becker describes as ‘reports on society’ or ‘representations of society’ (Becker \u003Ca class=\"xref bibr\" href=\"#REFe-r-032\" data-sectionId=\"#REFe-r-032\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Becker\u003C\u002Fspan\u003E2009\u003C\u002Fa\u003E:19). This inevitably raises the question of voice and, in particular, of ‘who speaks’ in these ‘reports’ or ‘representations’: in our view, it is the ‘popular intellectuals (or even intellectuals of the popular)’.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003ESongs often have allusive verses. These allusions are broad enough to include all sorts of changes and all sorts of interpretations. In this way, the artist exercises his critical reason. In fact, it is also an exercise in citizenship, or at least an exercise in citizenship. Depending on his commitment, he may engage in social criticism. Social criticism is the denunciation of the social order, authority (or power), inequalities (social, economic, etc.) or shortcomings (morals, for example). ‘Social criticism criticises the established order in the name of an ideal, more “just”, more “rational” order; it is a devaluation that presupposes a valorisation. It works in the same way as satire in the theatre or the novel: \u003Cem class=\"italic\"\u003Ecastigat\u003C\u002Fem\u003E (not always) \u003Cem class=\"italic\"\u003Eridendo mores in\u003C\u002Fem\u003E relation to an implicit norm’ (Grignon \u003Ca class=\"xref bibr\" href=\"#REFe-r-093\" data-sectionId=\"#REFe-r-093\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Grignon\u003C\u002Fspan\u003E2000\u003C\u002Fa\u003E:106). This social criticism can take a satirical turn. Social satire is the criticism of society through mockery and caricature. Popular song lends itself well to mockery and parody.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThe song can be harsh and the singer, in revolt, can rant about the harshness of life, the ‘daily miseries’, the ‘lost hopes’, and criticise the listeners themselves. She also takes the liberty, albeit cautiously, of denouncing ‘the modes of accumulation of goods at work in contemporary African societies [and] the arrogance of the rich, the lessons of the lives of the poor’ (Mbembe \u003Ca class=\"xref bibr\" href=\"#REFe-r-135\" data-sectionId=\"#REFe-r-135\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mbembe\u003C\u002Fspan\u003E1985\u003C\u002Fa\u003E:143). It is thus one of the ‘social revelators’ (Balandier \u003Ca class=\"xref bibr\" href=\"#REFe-r-023\" data-sectionId=\"#REFe-r-023\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Balandier\u003C\u002Fspan\u003E1985\u003C\u002Fa\u003E). It can be seen as the writing of a collective self, an act of revolt, in an intellectual and even scientific context marked by a certain trivialisation of the word ‘globalisation’. Popular music does not legitimise the hegemonic discourse of the master, of the ‘big boys’, an echo of the authorised word of power. Rather, it constitutes a counter-discourse representing the voices coming from below, from the ‘little people’, a return of the \u003Cem class=\"italic\"\u003Evox populi\u003C\u002Fem\u003E.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EPopular song is an expression of the anxieties and aspirations of a society, the anxieties and aspirations of the social groups that promote it. As well as being cathartic, popular song is also a means of expressing the social imagination of \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003Egroups. Thus, in the examples cited earlier, singer-artists can appear as popular intellectuals, ‘relays of social criticism’ (Albert & Kouvouama \u003Ca class=\"xref bibr\" href=\"#REFe-r-005\" data-sectionId=\"#REFe-r-005\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Albert, Kouvouama, Maupeu, Albert and Kouvouama\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:18) and even spokespersons for protest.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003ECan these popular intellectuals do anything different from the ‘official’ intellectuals, who are often organic (Gramsci), trained in the perspective of the former colonial masters, full of diplomas and Western-centric theories, and the architects of Africa’s disenchantment? ‘The efforts of the colonised to rehabilitate themselves and escape the colonial bite are logically part of the same perspective as that of colonialism’. (Fanon \u003Ca class=\"xref bibr\" href=\"#REFe-r-074\" data-sectionId=\"#REFe-r-074\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Fanon\u003C\u002Fspan\u003E1961[2002]\u003C\u002Fa\u003E:159). Following on from this idea, the ‘postcolonial’ African intellectual could only really free himself from the persistent ‘bite’ of resilient colonialism by rallying the peasant masses. To Fanon’s already broad conception of the intellectual, including what Sartre calls the ‘technicians of practical knowledge’ (Sartre \u003Ca class=\"xref bibr\" href=\"#REFe-r-184\" data-sectionId=\"#REFe-r-184\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Sartre\u003C\u002Fspan\u003E1972\u003C\u002Fa\u003E:13), we add artist-musicians, including singers. This is a kind of ‘field intellectual’, capable of bridging the inevitable gap between the intellectuals and the masses. That’s what many singers say – ‘\u003Cem class=\"italic\"\u003Ewe’re in the field\u003C\u002Fem\u003E’, which implies ‘we know what’s going on’. These African intellectuals, ‘by the kilo’, parrots, ‘potted plants’ raised in greenhouses, incapable of producing original thought, willingly maintaining their subaltern status (Nyamnjoh \u003Ca class=\"xref bibr\" href=\"#REFe-r-155\" data-sectionId=\"#REFe-r-155\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Nyamnjoh\u003C\u002Fspan\u003E2012\u003C\u002Fa\u003E) – can they speak?\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EThey are condemned to remain in the shadow of the master (Armah \u003Ca class=\"xref bibr\" href=\"#REFe-r-010\" data-sectionId=\"#REFe-r-010\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Armah\u003C\u002Fspan\u003E1972[1981]\u003C\u002Fa\u003E), at best to the mystification of the simulacrum to increase his prestige and authority over others, at worst to a perfidious ruse borrowing the resources of the Western dominator in a mystifying violence (Derrida \u003Ca class=\"xref bibr\" href=\"#REFe-r-062\" data-sectionId=\"#REFe-r-062\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Derrida\u003C\u002Fspan\u003E1966\u003C\u002Fa\u003E). The logic of imitation is close to that of counterfeiting. This kind of simulacrum is at the heart of the processes and procedures for seizing (or retaining) power by intellectuals drained by the bite of resilient colonialism.\u003C\u002Fp\u003E\u003Cp class=\"p\"\u003EEvery government has its artists and ‘acrobats’, as well as its appointed or authorised intellectuals, when these do not simply become political players (N’Da \u003Ca class=\"xref bibr\" href=\"#REFe-r-147\" data-sectionId=\"#REFe-r-147\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference N’Da\u003C\u002Fspan\u003E1999\u003C\u002Fa\u003E:211–212). This endorsement of Ivorian musical artists, which has varied over time, aims to exalt Ivorian pride. Power domesticates the arts. Song – the sung word – like tales, proverbs and metaphors, is a disguised form of communication. The choice of form of communication, particularly the satire that popular song readily indulges in, is crucial to correcting morals, regardless of social category or privilege, by entertaining and even mocking. The popular intellectual, ‘creator [from] the people’ (Mouchtouris \u003Ca class=\"xref bibr\" href=\"#REFe-r-144\" data-sectionId=\"#REFe-r-144\"\u003E\u003Cspan class=\"show-for-sr\"\u003EReference Mouchtouris\u003C\u002Fspan\u003E2007\u003C\u002Fa\u003E:139), often very close to their social and political expectations, is the object of covetousness. It is liable to be used or manipulated by entrepreneurs or political parties, or by those in power whose attitude to popular music (e.g. \u003Cem class=\"italic\"\u003Emapouka,\u003C\u002Fem\u003E sometimes consumed, sometimes censored) is ambiguous or even hypocritical. What remains is self-censorship or the love song as an outlet for freedom.\u003C\u002Fp\u003E\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"book-back\"\u003E\u003Cdiv class=\"book-part series-page\" id=\"EMT-bp-1\" data-magellan-destination=\"EMT-bp-1\"\u003E\u003Cdiv class=\"body\"\u003E\u003Cdiv class=\"sec\" id=\"A-sec-13\" data-magellan-destination=\"A-sec-13\"\u003E\u003Cul class=\"list simple\"\u003E\u003Cli class=\"list-item\"\u003E\u003Cp class=\"p series-editor\"\u003E Kristian Kristiansen\u003C\u002Fp\u003E\u003C\u002Fli\u003E\u003Cli class=\"list-item\"\u003E\u003Cp class=\"p aff\"\u003E \u003Cem class=\"italic\"\u003EUniversity of Gothenburg\u003C\u002Fem\u003E\u003C\u002Fp\u003E\u003C\u002Fli\u003E\u003C\u002Ful\u003E\u003Cul class=\"list simple\"\u003E\u003Cli class=\"list-item\"\u003E\u003Cp class=\"p series-editor\"\u003E Michael Rowlands\u003C\u002Fp\u003E\u003C\u002Fli\u003E\u003Cli class=\"list-item\"\u003E\u003Cp class=\"p aff\"\u003E \u003Cem class=\"italic\"\u003EUCL\u003C\u002Fem\u003E\u003C\u002Fp\u003E\u003C\u002Fli\u003E\u003C\u002Ful\u003E\u003Csection\u003E\u003Cheader\u003E\u003Chgroup\u003E\u003Ch2 class=\"title\"\u003E About the Series \u003C\u002Fh2\u003E\u003C\u002Fhgroup\u003E\u003C\u002Fheader\u003E\u003Cul class=\"list simple\"\u003E\u003Cli class=\"list-item\"\u003E\u003Cp class=\"p\"\u003E This series focuses on the recently established field of Critical Heritage Studies. Interdisciplinary in character, it brings together contributions from experts working in a range of fields, including cultural management, anthropology, archaeology, politics, and law. The series will include volumes that demonstrate the impact of contemporary theoretical discourses on heritage found throughout the world, raising awareness of the acute relevance of critically analysing and understanding the way heritage is used today to form new futures.\u003C\u002Fp\u003E\u003C\u002Fli\u003E\u003C\u002Ful\u003E\u003C\u002Fsection\u003E\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003Cdiv class=\"book-part series-page\" id=\"EMT-bp-2\" data-magellan-destination=\"EMT-bp-2\"\u003E\u003Cdiv class=\"back\"\u003E\u003Csection\u003E\u003C\u002Fsection\u003E\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003C\u002Fdiv\u003E\u003C\u002Farticle\u003E\u003C\u002Fdiv\u003E",tableOfContent:[{level:j,current:e,title:ad,url:"A-sec-4"},{level:j,current:e,title:"Popular Music and Heritage",url:"B-sec-1"},{level:j,current:e,title:"Heritage at Risk?",url:"B-sec-2"},{level:j,current:e,title:"Rethinking Heritage",url:"B-sec-3"},{level:j,current:e,title:"The Authentic Place of Heritage",url:"B-sec-4"},{level:j,current:e,title:"Methodological Note",url:"B-sec-5"},{level:j,current:e,title:"Outlines",url:"B-sec-6"},{level:j,current:e,title:"1 Popular Music in the Colony",url:"A-sec-5"},{level:j,current:e,title:"2 The Development of (and by) Popular Music",url:"A-sec-6"},{level:j,current:e,title:"3 The Musicscape of the Multiparty Years",url:"A-sec-7"},{level:j,current:e,title:"4 Poietics of Musical Art in Abidjan",url:"A-sec-8"},{level:j,current:e,title:"5 Tribality and Network Logic",url:"A-sec-9"},{level:j,current:e,title:"6 Music Creation and Technology",url:"A-sec-10"},{level:j,current:e,title:"7 Professionalisation or the Search for ‘Gombos’?",url:"A-sec-11"},{level:j,current:e,title:"8 Between Entertainment and Popular Intellectuality",url:"A-sec-12"},{level:j,current:e,title:dl,url:"EMT-bp-1"},{level:j,current:e,title:dl,url:"EMT-bp-2"}],figures:[],footnotes:[],fulltextNotes:[{content:"\u003Cp class=\"p\"\u003E\u003Cspan class=\"label\"\u003E\u003Csup class=\"sup\"\u003E1\u003C\u002Fsup\u003E\u003C\u002Fspan\u003E \u003Cem class=\"italic\"\u003EDjuésrofouè\u003C\u002Fem\u003E lit. ‘the one who sings’ …\u003C\u002Fp\u003E",targetId:"FN-fn-1",displayNumber:s},{content:"\u003Cp class=\"p\"\u003E\u003Cspan class=\"label\"\u003E\u003Csup class=\"sup\"\u003E2\u003C\u002Fsup\u003E\u003C\u002Fspan\u003E \u003Cem class=\"italic\"\u003ETohourou\u003C\u002Fem\u003E litt. ‘give him advice’ …\u003C\u002Fp\u003E",targetId:"FN-fn-2",displayNumber:"2"},{content:"\u003Cp class=\"p\"\u003E\u003Cspan class=\"label\"\u003E\u003Csup class=\"sup\"\u003E3\u003C\u002Fsup\u003E\u003C\u002Fspan\u003E Dictionnaire de sociologie Robert\u002FSeuil (1999:270).\u003C\u002Fp\u003E",targetId:"FN-fn-3",displayNumber:E}],references:[{id:"REFe-r-001",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAchebe\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1973\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EAfrica and her writers\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EThe Massachusetts Review\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E14\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E3\u003C\u002Fspan\u003E, (Summer), pp. \u003Cspan class=\"fpage\"\u003E617\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E629\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Africa and her writers' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Africa+and+her+writers&author=Achebe+C.&publication+year=1973&journal=The+Massachusetts+Review&volume=14&pages=617-629\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Africa+and+her+writers&author=Achebe+C.&publication+year=1973&journal=The+Massachusetts+Review&volume=14&pages=617-629",openUrlParams:{genre:h,atitle:dm,jtitle:dn,title:dn,volume:"14",artnum:"67447dca21c8183ee4eb2727",spage:"617",epage:"629",date:"1973",sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-nd0a2480034dca884",title:dm,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-002",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAdorno\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ET. W.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1962\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EPhilosophie de la nouvelle musique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Gallimard, coll. Tel.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Philosophie de la nouvelle musique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Philosophie+de+la+nouvelle+musique&author=Adorno+T.+W.&publication+year=1962\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Philosophie+de+la+nouvelle+musique&author=Adorno+T.+W.&publication+year=1962",openUrlParams:{genre:f,btitle:ae,title:ae,aulast:a,aufirst:a,au:a,pub:c,date:do0,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n2eeae5b72d3cffab",title:ae,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-003",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAgawu\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EK.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2016\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EThe African Imagination in Music\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003ELondon, Oxford University Press\u003C\u002Fspan\u003E. DOI: \u003Ca class=\"uri\" href=\"https:\u002F\u002Fdoi.org\u002F10.1093\u002Facprof:oso\u002F9780190263201.001.0001\"\u003Ehttps:\u002F\u002Fdoi.org\u002F10.1093\u002Facprof:oso\u002F9780190263201.001.0001\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for The African Imagination in Music' href=https:\u002F\u002Fdx.doi.org\u002F10.1093\u002Facprof:oso\u002F9780190263201.001.0001\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for The African Imagination in Music' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+African+Imagination+in+Music&author=Agawu+K.&publication+year=2016\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+African+Imagination+in+Music&author=Agawu+K.&publication+year=2016",openUrlParams:{genre:f,btitle:af,title:af,aulast:a,aufirst:a,au:a,pub:c,date:F,tpages:c,doi:dp,sid:d},innerRefId:"auto_ref-naff08ca88ae14ee7",title:af,doi:dp,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1093\u002Facprof:oso\u002F9780190263201.001.0001",pubMedLink:a}]},{id:"REFe-r-004",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAkindès\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ES.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2002\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EPlaying it “loud and straight”’. Reggae, Zouglou Mapouka and youth insubordination in Côte d’Ivoire\u003C\u002Fspan\u003E’’, in \u003Cspan class=\"source\"\u003EPlaying with Identities in Contemporary Music in Africa\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EPalmberg\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E and \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKirkegaard\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Eds.), \u003Cspan class=\"publisher-loc\"\u003EUppsala, Nordiska Afrikainstitutet\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E99\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E100\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Playing with Identities in Contemporary Music in Africa' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Playing+with+Identities+in+Contemporary+Music+in+Africa&author=Akind%C3%A8s+S.&author=Palmberg+M.&author=Kirkegaard+A.&publication+year=2002&pages=99-100\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Playing+with+Identities+in+Contemporary+Music+in+Africa&author=Akind%C3%A8s+S.&author=Palmberg+M.&author=Kirkegaard+A.&publication+year=2002&pages=99-100",openUrlParams:{genre:i,btitle:ag,title:ag,atitle:"Playing it “loud and straight”’. Reggae, Zouglou Mapouka and youth insubordination in Côte d’Ivoire",aulast:a,aufirst:a,au:a,pub:c,date:G,spage:"99",epage:"100",doi:a,sid:d},innerRefId:"auto_ref-n40d78dcfc31c35c6",title:ag,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-005",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAlbert\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKouvouama\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EIntroduction. Intellectuels populaires: Un paradoxe créatif\u003C\u002Fspan\u003E’’, in \u003Cspan class=\"source\"\u003EIntellectuels populaires: Un paradoxe créatif\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMaupeu\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EHervé\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAlbert\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EChristiane\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKouvouama\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EAbel\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, (Eds.), \u003Cspan class=\"publisher-loc\"\u003EPau\u003C\u002Fspan\u003E, PU Pau et Pays de l’Adour, pp. \u003Cspan class=\"fpage\"\u003E17\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E26\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Intellectuels populaires: Un paradoxe créatif' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Intellectuels+populaires%3A+Un+paradoxe+cr%C3%A9atif&author=Albert+C.&author=Kouvouama+A.&author=Maupeu+Herv%C3%A9&author=Albert+Christiane&author=Kouvouama+Abel&publication+year=2007&pages=17-26\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Intellectuels+populaires%3A+Un+paradoxe+cr%C3%A9atif&author=Albert+C.&author=Kouvouama+A.&author=Maupeu+Herv%C3%A9&author=Albert+Christiane&author=Kouvouama+Abel&publication+year=2007&pages=17-26",openUrlParams:{genre:i,btitle:ah,title:ah,atitle:"Introduction. Intellectuels populaires: Un paradoxe créatif",aulast:a,aufirst:a,au:a,pub:c,date:l,spage:ai,epage:"26",doi:a,sid:d},innerRefId:"auto_ref-nacb8213451f71c78",title:ah,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-006",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAnderson\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EB.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1983\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EL’imaginaire national\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, La Découverte.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for L’imaginaire national' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99imaginaire+national&author=Anderson+B.&publication+year=1983\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99imaginaire+national&author=Anderson+B.&publication+year=1983",openUrlParams:{genre:f,btitle:aj,title:aj,aulast:a,aufirst:a,au:a,pub:c,date:dq,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nb2b32dd26c9da60a",title:aj,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-007",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAppadurai\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2001\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EAprès le colonialisme: Les conséquences culturelles de la globalisation\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPayot\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Après le colonialisme: Les conséquences culturelles de la globalisation' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Apr%C3%A8s+le+colonialisme%3A+Les+cons%C3%A9quences+culturelles+de+la+globalisation&author=Appadurai+A.&publication+year=2001\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Apr%C3%A8s+le+colonialisme%3A+Les+cons%C3%A9quences+culturelles+de+la+globalisation&author=Appadurai+A.&publication+year=2001",openUrlParams:{genre:f,btitle:ak,title:ak,aulast:a,aufirst:a,au:a,pub:"Payot",date:O,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n3359d4cbcc420946",title:ak,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-008",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EArendt\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EH.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, 1972[\u003Cspan class=\"year\"\u003E2005\u003C\u002Fspan\u003E], \u003Cspan class=\"source\"\u003ELa crise de la culture\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EGallimard, Coll. Folio essais\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La crise de la culture' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+crise+de+la+culture&author=Arendt+H.&publication+year=2005\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+crise+de+la+culture&author=Arendt+H.&publication+year=2005",openUrlParams:{genre:f,btitle:al,title:al,aulast:a,aufirst:a,au:a,pub:"Gallimard, Coll. Folio essais",date:t,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n8ad3ae7b0d4228be",title:al,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-009",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAristotle\u003C\u002Fspan\u003E, \u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1980\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EThe Poetics\u003C\u002Fspan\u003E, texte, traduction, notes par Roselyne Dupont-Roc et Jean Lallot, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ESeuil\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for The Poetics' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+Poetics&author=Aristotle+&publication+year=1980\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+Poetics&author=Aristotle+&publication+year=1980",openUrlParams:{genre:f,btitle:am,title:am,aulast:a,aufirst:a,au:a,pub:P,date:"1980",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-ne25583144a424b96",title:am,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-010",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EArmah\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA. K.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1972\u003C\u002Fspan\u003E[1981], \u003Cspan class=\"source\"\u003EWhy Are We So Blest?\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003ELondon, Heinemann, African Writers Series\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Why Are We So Blest?' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Why+Are+We+So+Blest%3F&author=Armah+A.+K.&publication+year=1972\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Why+Are+We+So+Blest%3F&author=Armah+A.+K.&publication+year=1972",openUrlParams:{genre:f,btitle:an,title:an,aulast:a,aufirst:a,au:a,pub:c,date:dr,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nacdf5673a3226f29",title:an,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-011",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAsinome\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EE.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2017\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EVivre sa passion et gagner sa vie: Jeunes artistes du sud-ouest de Madagascar à la recherche de notoriété dans la capitale malgache\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EAfrique et Développement\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E42\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E2\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E173\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E191\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Vivre sa passion et gagner sa vie: Jeunes artistes du sud-ouest de Madagascar à la recherche de notoriété dans la capitale malgache' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Vivre+sa+passion+et+gagner+sa+vie%3A+Jeunes+artistes+du+sud-ouest+de+Madagascar+%C3%A0+la+recherche+de+notori%C3%A9t%C3%A9+dans+la+capitale+malgache&author=Asinome+E.&publication+year=2017&journal=Afrique+et+D%C3%A9veloppement&volume=42&pages=173-191\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Vivre+sa+passion+et+gagner+sa+vie%3A+Jeunes+artistes+du+sud-ouest+de+Madagascar+%C3%A0+la+recherche+de+notori%C3%A9t%C3%A9+dans+la+capitale+malgache&author=Asinome+E.&publication+year=2017&journal=Afrique+et+D%C3%A9veloppement&volume=42&pages=173-191",openUrlParams:{genre:h,atitle:ds,jtitle:dt,title:dt,volume:"42",artnum:"67447dca21c8183ee4eb2731",spage:"173",epage:"191",date:ao,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n7742e4daf803826c",title:ds,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-012",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAugé\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ENon-lieux. Introduction à une anthropologie de la surmodernité\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Seuil\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Non-lieux. Introduction à une anthropologie de la surmodernité' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Non-lieux.+Introduction+%C3%A0+une+anthropologie+de+la+surmodernit%C3%A9&author=Aug%C3%A9+M.&publication+year=1992\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Non-lieux.+Introduction+%C3%A0+une+anthropologie+de+la+surmodernit%C3%A9&author=Aug%C3%A9+M.&publication+year=1992",openUrlParams:{genre:f,btitle:ap,title:ap,aulast:a,aufirst:a,au:a,pub:c,date:m,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nc58a8189f163a933",title:ap,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-013",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBabi\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ER.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2010\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EAmédée Pierre, le dopé national, grand maître de la parole\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Amédée Pierre, le dopé national, grand maître de la parole' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Am%C3%A9d%C3%A9e+Pierre%2C+le+dop%C3%A9+national%2C+grand+ma%C3%AEtre+de+la+parole&author=Babi+R.&publication+year=2010\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Am%C3%A9d%C3%A9e+Pierre%2C+le+dop%C3%A9+national%2C+grand+ma%C3%AEtre+de+la+parole&author=Babi+R.&publication+year=2010",openUrlParams:{genre:f,btitle:aq,title:aq,aulast:a,aufirst:a,au:a,pub:c,date:u,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n807c54d75643cc76",title:aq,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-014",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBachimon\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2001\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003ELa “rurbanité” au Centre de la Recherche: Action\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ESempervira\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E10\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EAbidjan, Centre Suisse de Recherches Scientifiques\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E9\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E12\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Sempervira' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Sempervira&author=Bachimon+P.&publication+year=2001&pages=9-12\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Sempervira&author=Bachimon+P.&publication+year=2001&pages=9-12",openUrlParams:{genre:i,btitle:ar,title:ar,atitle:"La “rurbanité” au Centre de la Recherche: Action",aulast:a,aufirst:a,au:a,pub:"Abidjan, Centre Suisse de Recherches Scientifiques",date:O,spage:Q,epage:as,doi:a,sid:d},innerRefId:"auto_ref-n4ae7eb3eaf23e389",title:ar,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-015",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBahi\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2021\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EIl n’y a pas de crocodiles à Cocody: Anthropologie de la communication musicale en Côte d’Ivoire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EBamenda, Langaa.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Il n’y a pas de crocodiles à Cocody: Anthropologie de la communication musicale en Côte d’Ivoire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Il+n%E2%80%99y+a+pas+de+crocodiles+%C3%A0+Cocody%3A+Anthropologie+de+la+communication+musicale+en+C%C3%B4te+d%E2%80%99Ivoire&author=Bahi+A.&publication+year=2021\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Il+n%E2%80%99y+a+pas+de+crocodiles+%C3%A0+Cocody%3A+Anthropologie+de+la+communication+musicale+en+C%C3%B4te+d%E2%80%99Ivoire&author=Bahi+A.&publication+year=2021",openUrlParams:{genre:f,btitle:at,title:at,aulast:a,aufirst:a,au:a,pub:c,date:au,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nd92f84eda5833650",title:at,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-016",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBahi\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2013\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EL’ivoirité mouvementée: Jeunes, médias et politique en Côte d’Ivoire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EBamenda, Langaa\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for L’ivoirité mouvementée: Jeunes, médias et politique en Côte d’Ivoire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99ivoirit%C3%A9+mouvement%C3%A9e%3A+Jeunes%2C+m%C3%A9dias+et+politique+en+C%C3%B4te+d%E2%80%99Ivoire&author=Bahi+A.&publication+year=2013\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99ivoirit%C3%A9+mouvement%C3%A9e%3A+Jeunes%2C+m%C3%A9dias+et+politique+en+C%C3%B4te+d%E2%80%99Ivoire&author=Bahi+A.&publication+year=2013",openUrlParams:{genre:f,btitle:av,title:av,aulast:a,aufirst:a,au:a,pub:c,date:H,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n5a342fc5056999ec",title:av,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-017",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBahi\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2011\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EMusique populaire moderne et coproduction de l’imaginaire national en Côte d’Ivoire\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003ECôte d’Ivoire: La réinvention de soi dans la violence\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAkindès\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EFrancis\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), Dakar, \u003Cspan class=\"publisher-loc\"\u003ECouncil for the Development of Social Science Research in Africa\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E133\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E168\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Côte d’Ivoire: La réinvention de soi dans la violence' href=https:\u002F\u002Fdx.doi.org\u002F10.2307\u002Fj.ctvk8vz8w.10\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Côte d’Ivoire: La réinvention de soi dans la violence' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=C%C3%B4te+d%E2%80%99Ivoire%3A+La+r%C3%A9invention+de+soi+dans+la+violence&author=Bahi+A.&author=Akind%C3%A8s+Francis&publication+year=2011&pages=133-168\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=C%C3%B4te+d%E2%80%99Ivoire%3A+La+r%C3%A9invention+de+soi+dans+la+violence&author=Bahi+A.&author=Akind%C3%A8s+Francis&publication+year=2011&pages=133-168",openUrlParams:{genre:i,btitle:aw,title:aw,atitle:"Musique populaire moderne et coproduction de l’imaginaire national en Côte d’Ivoire",aulast:a,aufirst:a,au:a,pub:c,date:ax,spage:"133",epage:"168",doi:du,sid:d},innerRefId:"auto_ref-ne4bfc22c5a49bd2f",title:aw,doi:du,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.2307\u002Fj.ctvk8vz8w.10",pubMedLink:a}]},{id:"REFe-r-018",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBahi\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2010\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EJeunes et imaginaire de la modernité à Abidjan\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ECadernos de estudos africanos\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E18\u003C\u002Fspan\u003E\u002F\u003Cspan class=\"issue\"\u003E19\u003C\u002Fspan\u003E, June 2009–July 2010, pp. \u003Cspan class=\"fpage\"\u003E47\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E61\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Jeunes et imaginaire de la modernité à Abidjan' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Jeunes+et+imaginaire+de+la+modernit%C3%A9+%C3%A0+Abidjan&author=Bahi+A.&publication+year=2010&journal=Cadernos+de+estudos+africanos&volume=18&pages=47-61\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Jeunes+et+imaginaire+de+la+modernit%C3%A9+%C3%A0+Abidjan&author=Bahi+A.&publication+year=2010&journal=Cadernos+de+estudos+africanos&volume=18&pages=47-61",openUrlParams:{genre:h,atitle:dv,jtitle:dw,title:dw,volume:"18",artnum:"67447dca21c8183ee4eb2738",spage:dx,epage:"61",date:u,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n2fcf3863101e23be",title:dv,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-019",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBahi\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1999\u003C\u002Fspan\u003E, ’\u003Cspan class=\"article-title\"\u003ELa “télé-maquis”: Les images de l’homme ordinaire\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EEn Quête\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E4\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E9\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E30\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La “télé-maquis”: Les images de l’homme ordinaire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+%E2%80%9Ct%C3%A9l%C3%A9-maquis%E2%80%9D%3A+Les+images+de+l%E2%80%99homme+ordinaire&author=Bahi+A.&publication+year=1999&journal=En+Qu%C3%AAte&volume=4&pages=9-30\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+%E2%80%9Ct%C3%A9l%C3%A9-maquis%E2%80%9D%3A+Les+images+de+l%E2%80%99homme+ordinaire&author=Bahi+A.&publication+year=1999&journal=En+Qu%C3%AAte&volume=4&pages=9-30",openUrlParams:{genre:h,atitle:dy,jtitle:dz,title:dz,volume:R,artnum:"67447dca21c8183ee4eb2739",spage:Q,epage:"30",date:v,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-nbe77d512097e7645",title:dy,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-020",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBahi\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1998\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003ELes “tambours bâillonnés”: Contrôle et mainmise du pouvoir sur les médias en Côte d’Ivoire\u003Cem class=\"italic\"\u003E’\u003C\u002Fem\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EMedia Development\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E45\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E4\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E36\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E45\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les “tambours bâillonnés”: Contrôle et mainmise du pouvoir sur les médias en Côte d’Ivoire’' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+%E2%80%9Ctambours+b%C3%A2illonn%C3%A9s%E2%80%9D%3A+Contr%C3%B4le+et+mainmise+du+pouvoir+sur+les+m%C3%A9dias+en+C%C3%B4te+d%E2%80%99Ivoire%E2%80%99&author=Bahi+A.&publication+year=1998&journal=Media+Development&volume=45&pages=36-45\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+%E2%80%9Ctambours+b%C3%A2illonn%C3%A9s%E2%80%9D%3A+Contr%C3%B4le+et+mainmise+du+pouvoir+sur+les+m%C3%A9dias+en+C%C3%B4te+d%E2%80%99Ivoire%E2%80%99&author=Bahi+A.&publication+year=1998&journal=Media+Development&volume=45&pages=36-45",openUrlParams:{genre:h,atitle:dA,jtitle:dB,title:dB,volume:ay,artnum:"67447dca21c8183ee4eb273a",spage:"36",epage:ay,date:I,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n7faf307f27bf9177",title:dA,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-021",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBahi\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1994\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ENarration, traditions et modernité dans le discours filmique de Comment ça va? une émission de la Télévision Ivoirienne,\u003C\u002Fspan\u003E \u003Cspan class=\"publisher-loc\"\u003ELille\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EAtelier National de Réproduction des Thèses Diffusion\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Narration, traditions et modernité dans le discours filmique de Comment ça va? une émission de la Télévision Ivoirienne,' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Narration%2C+traditions+et+modernit%C3%A9+dans+le+discours+filmique+de+Comment+%C3%A7a+va%3F+une+%C3%A9mission+de+la+T%C3%A9l%C3%A9vision+Ivoirienne%2C&author=Bahi+A.&publication+year=1994\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Narration%2C+traditions+et+modernit%C3%A9+dans+le+discours+filmique+de+Comment+%C3%A7a+va%3F+une+%C3%A9mission+de+la+T%C3%A9l%C3%A9vision+Ivoirienne%2C&author=Bahi+A.&publication+year=1994",openUrlParams:{genre:f,btitle:az,title:az,aulast:a,aufirst:a,au:a,pub:"Atelier National de Réproduction des Thèses Diffusion",date:aA,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n9ae61070043fa033",title:az,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-022",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBalandier\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2008\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EDe tous temps, de tous lieux, l’information et la communication\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EL’Homme\u003C\u002Fspan\u003E, Nos. \u003Cspan class=\"volume\"\u003E185\u003C\u002Fspan\u003E–\u003Cspan class=\"issue\"\u003E186\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E55\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E63\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for De tous temps, de tous lieux, l’information et la communication' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=De+tous+temps%2C+de+tous+lieux%2C+l%E2%80%99information+et+la+communication&author=Balandier+G.&publication+year=2008&journal=L%E2%80%99Homme&volume=185&pages=55-63\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=De+tous+temps%2C+de+tous+lieux%2C+l%E2%80%99information+et+la+communication&author=Balandier+G.&publication+year=2008&journal=L%E2%80%99Homme&volume=185&pages=55-63",openUrlParams:{genre:h,atitle:dC,jtitle:dD,title:dD,volume:"185",artnum:"67447dca21c8183ee4eb273c",spage:dE,epage:"63",date:J,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-nf278e521453fc36b",title:dC,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-023",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBalandier\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1985\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ESociologie des Brazzavilles noires\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPresses de la Fnsp\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Sociologie des Brazzavilles noires' href=https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fscpo.balan.1985.01\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Sociologie des Brazzavilles noires' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Sociologie+des+Brazzavilles+noires&author=Balandier+G.&publication+year=1985\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Sociologie+des+Brazzavilles+noires&author=Balandier+G.&publication+year=1985",openUrlParams:{genre:f,btitle:aB,title:aB,aulast:a,aufirst:a,au:a,pub:"Presses de la Fnsp",date:w,tpages:c,doi:dF,sid:d},innerRefId:"auto_ref-n40a086d03b9f1632",title:aB,doi:dF,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fscpo.balan.1985.01",pubMedLink:a}]},{id:"REFe-r-024",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBalandier\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1974\u003C\u002Fspan\u003E[1985], \u003Cspan class=\"source\"\u003EAnthropo-logiques\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ELe Livre de Poche\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Anthropo-logiques' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Anthropo-logiques&author=Balandier+G.&publication+year=1974\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Anthropo-logiques&author=Balandier+G.&publication+year=1974",openUrlParams:{genre:f,btitle:aC,title:aC,aulast:a,aufirst:a,au:a,pub:dG,date:"1974",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nd83a9b81789f096a",title:aC,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-025",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBalandier\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1957\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EAfrique ambiguë\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Plon, coll. Terre humaine\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Afrique ambiguë' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Afrique+ambigu%C3%AB&author=Balandier+G.&publication+year=1957\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Afrique+ambigu%C3%AB&author=Balandier+G.&publication+year=1957",openUrlParams:{genre:f,btitle:aD,title:aD,aulast:a,aufirst:a,au:a,pub:c,date:dH,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n3fb36d32b99f2842",title:aD,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-026",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBarber\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EK.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2018\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EA History of African Popular Culture\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003ECambridge\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ECambridge University Press\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for A History of African Popular Culture' href=https:\u002F\u002Fdx.doi.org\u002F10.1017\u002F9781139061766\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for A History of African Popular Culture' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=A+History+of+African+Popular+Culture&author=Barber+K.&publication+year=2018\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=A+History+of+African+Popular+Culture&author=Barber+K.&publication+year=2018",openUrlParams:{genre:f,btitle:aE,title:aE,aulast:a,aufirst:a,au:a,pub:dk,date:q,tpages:c,doi:dI,sid:d},innerRefId:"auto_ref-nfa260398117f4f85",title:aE,doi:dI,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1017\u002F9781139061766",pubMedLink:a}]},{id:"REFe-r-027",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBarber\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EK.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2015\u003C\u002Fspan\u003E, ‘Authorship, copyright and quotation in oral and print spheres in early colonial Yorubaland’, in \u003Cspan class=\"source\"\u003ECopyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERöschenthaler\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EUte\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDiawarra\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EMamadou\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Eds.), \u003Cspan class=\"publisher-loc\"\u003ECanon Pyon\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ESean Kingston Publishing\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E101\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E123\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Copyright+Africa%3A+How+Intellectual+Property%2C+Media+and+Markets+Transform+Immaterial+Cultural+Goods&author=Barber+K.&author=R%C3%B6schenthaler+Ute&author=Diawarra+Mamadou&publication+year=2015&pages=101-123\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Copyright+Africa%3A+How+Intellectual+Property%2C+Media+and+Markets+Transform+Immaterial+Cultural+Goods&author=Barber+K.&author=R%C3%B6schenthaler+Ute&author=Diawarra+Mamadou&publication+year=2015&pages=101-123",openUrlParams:{genre:f,btitle:p,title:p,aulast:a,aufirst:a,au:a,pub:"Sean Kingston Publishing",date:x,tpages:"123",doi:a,sid:d},innerRefId:"auto_ref-n51b815495e7f6efd",title:p,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-028",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBarthes\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ER.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1957\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EMythologies\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Seuil.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Mythologies' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Mythologies&author=Barthes+R.&publication+year=1957\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Mythologies&author=Barthes+R.&publication+year=1957",openUrlParams:{genre:f,btitle:aF,title:aF,aulast:a,aufirst:a,au:a,pub:c,date:dH,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nbd02a8b7ec4a491f",title:aF,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-029",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBassand\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2001\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003ELes six paramètres de la métropolisation\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ECahiers de la métropolisation\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E1\u003C\u002Fspan\u003E, Fiche débat, pp. \u003Cspan class=\"fpage\"\u003E33\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E39\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les six paramètres de la métropolisation' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+six+param%C3%A8tres+de+la+m%C3%A9tropolisation&author=Bassand+M.&publication+year=2001&journal=Cahiers+de+la+m%C3%A9tropolisation&volume=1&pages=33-39\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+six+param%C3%A8tres+de+la+m%C3%A9tropolisation&author=Bassand+M.&publication+year=2001&journal=Cahiers+de+la+m%C3%A9tropolisation&volume=1&pages=33-39",openUrlParams:{genre:h,atitle:dJ,jtitle:dK,title:dK,volume:s,artnum:"67447dca21c8183ee4eb2743",spage:"33",epage:aG,date:O,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n3e2f53af4d30d8ab",title:dJ,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-030",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBauman\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ER.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, ‘Performance’, in \u003Cspan class=\"source\"\u003EFolklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBauman\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ERichard\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EOxford\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EOxford University Press\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E41\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E49\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https:\u002F\u002Fdx.doi.org\u002F10.1093\u002Foso\u002F9780195069198.003.0005\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Folklore%2C+Cultural+Performances%2C+and+Popular+Entertainments%3A+A+Communications-Centered+Handbook&author=Bauman+R.&author=Bauman+Richard&publication+year=1992&pages=41-49\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Folklore%2C+Cultural+Performances%2C+and+Popular+Entertainments%3A+A+Communications-Centered+Handbook&author=Bauman+R.&author=Bauman+Richard&publication+year=1992&pages=41-49",openUrlParams:{genre:f,btitle:n,title:n,aulast:a,aufirst:a,au:a,pub:S,date:m,tpages:"49",doi:dL,sid:d},innerRefId:"auto_ref-nff40aef45a70e35d",title:n,doi:dL,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1093\u002Foso\u002F9780195069198.003.0005",pubMedLink:a}]},{id:"REFe-r-031",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBazin\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EL.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2014\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EPréface’, in\u003C\u002Fspan\u003E \u003Cspan class=\"source\"\u003ELes mutuelles de développement en Côte d’Ivoire: Idéologie de l’origine et modernisation villageoise\u003C\u002Fspan\u003E, by Roch Yao Gbabeli, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003Eii\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003Eviii\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les mutuelles de développement en Côte d’Ivoire: Idéologie de l’origine et modernisation villageoise' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+mutuelles+de+d%C3%A9veloppement+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Id%C3%A9ologie+de+l%E2%80%99origine+et+modernisation+villageoise&author=Bazin+L.&publication+year=2014&pages=ii-viii\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+mutuelles+de+d%C3%A9veloppement+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Id%C3%A9ologie+de+l%E2%80%99origine+et+modernisation+villageoise&author=Bazin+L.&publication+year=2014&pages=ii-viii",openUrlParams:{genre:i,btitle:aH,title:aH,atitle:"Préface’, in",aulast:a,aufirst:a,au:a,pub:c,date:aI,spage:"ii",epage:"viii",doi:a,sid:d},innerRefId:"auto_ref-n6dc1a1e128e56a37",title:aH,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-032",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBecker\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EH. S.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2009\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EComment parler de la société: Artistes, écrivains, chercheurs et représentations sociales\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ELa Découverte\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Comment parler de la société: Artistes, écrivains, chercheurs et représentations sociales' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Comment+parler+de+la+soci%C3%A9t%C3%A9%3A+Artistes%2C+%C3%A9crivains%2C+chercheurs+et+repr%C3%A9sentations+sociales&author=Becker+H.+S.&publication+year=2009\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Comment+parler+de+la+soci%C3%A9t%C3%A9%3A+Artistes%2C+%C3%A9crivains%2C+chercheurs+et+repr%C3%A9sentations+sociales&author=Becker+H.+S.&publication+year=2009",openUrlParams:{genre:f,btitle:aJ,title:aJ,aulast:a,aufirst:a,au:a,pub:aK,date:y,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n2f793c4e3926b539",title:aJ,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-033",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBecker\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EH.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1988\u003C\u002Fspan\u003E[2006], \u003Cspan class=\"source\"\u003ELes mondes de l’art\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EFlammarion\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les mondes de l’art' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+mondes+de+l%E2%80%99art&author=Becker+H.&publication+year=1988\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+mondes+de+l%E2%80%99art&author=Becker+H.&publication+year=1988",openUrlParams:{genre:f,btitle:aL,title:aL,aulast:a,aufirst:a,au:a,pub:"Flammarion",date:K,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n86f311ff8626d411",title:aL,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-034",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBéhague\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG. H.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EMusical Performance\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003EFolklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBauman\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ERichard\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EOxford\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EOxford University Press\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E172\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E178\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https:\u002F\u002Fdx.doi.org\u002F10.1093\u002Foso\u002F9780195069198.003.0024\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Folklore%2C+Cultural+Performances%2C+and+Popular+Entertainments%3A+A+Communications-Centered+Handbook&author=B%C3%A9hague+G.+H.&author=Bauman+Richard&publication+year=1992&pages=172-178\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Folklore%2C+Cultural+Performances%2C+and+Popular+Entertainments%3A+A+Communications-Centered+Handbook&author=B%C3%A9hague+G.+H.&author=Bauman+Richard&publication+year=1992&pages=172-178",openUrlParams:{genre:i,btitle:n,title:n,atitle:"Musical Performance",aulast:a,aufirst:a,au:a,pub:S,date:m,spage:"172",epage:"178",doi:dM,sid:d},innerRefId:"auto_ref-n1e75eaa8c726f749",title:n,doi:dM,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1093\u002Foso\u002F9780195069198.003.0024",pubMedLink:a}]},{id:"REFe-r-035",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBemba\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ES.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1984\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ECinquante ans de musique du Congo-Zaïre, 1920–1970: De Paul Kamba à Tabu-Ley\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPrésence africaine\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Cinquante ans de musique du Congo-Zaïre, 1920–1970: De Paul Kamba à Tabu-Ley' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Cinquante+ans+de+musique+du+Congo-Za%C3%AFre%2C+1920%E2%80%931970%3A+De+Paul+Kamba+%C3%A0+Tabu-Ley&author=Bemba+S.&publication+year=1984\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Cinquante+ans+de+musique+du+Congo-Za%C3%AFre%2C+1920%E2%80%931970%3A+De+Paul+Kamba+%C3%A0+Tabu-Ley&author=Bemba+S.&publication+year=1984",openUrlParams:{genre:f,btitle:aM,title:aM,aulast:a,aufirst:a,au:a,pub:T,date:U,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nf6946731650b79fd",title:aM,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-036",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBergson\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EH.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1936\u003C\u002Fspan\u003E, ’\u003Cspan class=\"source\"\u003E\u003Cem class=\"italic\"\u003EQuel est l’objet de l’art?’\u003C\u002Fem\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EParis, BnF, Archives de la Parole, Service de la coopération numérique, Gallica\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Quel est l’objet de l’art?’' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Quel+est+l%E2%80%99objet+de+l%E2%80%99art%3F%E2%80%99&author=Bergson+H.&publication+year=1936\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Quel+est+l%E2%80%99objet+de+l%E2%80%99art%3F%E2%80%99&author=Bergson+H.&publication+year=1936",openUrlParams:{genre:f,btitle:aN,title:aN,aulast:a,aufirst:a,au:a,pub:"Paris, BnF, Archives de la Parole, Service de la coopération numérique, Gallica",date:"1936",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n4e2e78e2a20c98d5",title:aN,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-037",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBibeau\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1993\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EReview of [Didier Fassin: \u003Cem class=\"italic\"\u003EPouvoir et maladie en Afrique. Anthropologie sociale dans la banlieue de Dakar\u003C\u002Fem\u003E\u003C\u002Fspan\u003E, Paris, Presses Universitaires de France, coll. Les champs de la santé, 1992, 359 pp., bibliogr.]’. \u003Cspan class=\"source\"\u003EAnthropologie et Sociétés\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E17\u003C\u002Fspan\u003E, Nos. \u003Cspan class=\"issue\"\u003E1–2\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E253\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E260\u003C\u002Fspan\u003E. DOI: \u003Ca class=\"uri\" href=\"https:\u002F\u002Fdoi.org\u002F10.7202\u002F015260ar\"\u003Ehttps:\u002F\u002Fdoi.org\u002F10.7202\u002F015260ar\u003C\u002Fa\u003E, 21.01.2020.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Review of [Didier Fassin: Pouvoir et maladie en Afrique. Anthropologie sociale dans la banlieue de Dakar' href=https:\u002F\u002Fdx.doi.org\u002F10.7202\u002F015260ar\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Review of [Didier Fassin: Pouvoir et maladie en Afrique. Anthropologie sociale dans la banlieue de Dakar' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Review+of+%5BDidier+Fassin%3A+Pouvoir+et+maladie+en+Afrique.+Anthropologie+sociale+dans+la+banlieue+de+Dakar&author=Bibeau+G.&publication+year=1993&journal=Anthropologie+et+Soci%C3%A9t%C3%A9s&volume=17&doi=10.7202%2F015260ar&pages=253-260\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Review+of+%5BDidier+Fassin%3A+Pouvoir+et+maladie+en+Afrique.+Anthropologie+sociale+dans+la+banlieue+de+Dakar&author=Bibeau+G.&publication+year=1993&journal=Anthropologie+et+Soci%C3%A9t%C3%A9s&volume=17&doi=10.7202%2F015260ar&pages=253-260",openUrlParams:{genre:h,atitle:dN,jtitle:dO,title:dO,volume:ai,artnum:"67447dca21c8183ee4eb274b",spage:dP,epage:"260",date:V,sid:d,aulast:a,aufirst:a,doi:dQ,au:a},innerRefId:"auto_ref-n9bdb262deb111406",title:dN,doi:dQ,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.7202\u002F015260ar",pubMedLink:a}]},{id:"REFe-r-038",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBoa\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ET. R.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2010\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa sorcellerie n’existe pas\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EAbidjan, Les éditions du CERAP\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La sorcellerie n’existe pas' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+sorcellerie+n%E2%80%99existe+pas&author=Boa+T.+R.&publication+year=2010\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+sorcellerie+n%E2%80%99existe+pas&author=Boa+T.+R.&publication+year=2010",openUrlParams:{genre:f,btitle:aO,title:aO,aulast:a,aufirst:a,au:a,pub:c,date:u,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n9d8e70fea9acf6ee",title:aO,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-039",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBoka\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2013\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ECoupé décalé: Sens d’un genre musical en Afrique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Coupé décalé: Sens d’un genre musical en Afrique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Coup%C3%A9+d%C3%A9cal%C3%A9%3A+Sens+d%E2%80%99un+genre+musical+en+Afrique&author=Boka+A.&publication+year=2013\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Coup%C3%A9+d%C3%A9cal%C3%A9%3A+Sens+d%E2%80%99un+genre+musical+en+Afrique&author=Boka+A.&publication+year=2013",openUrlParams:{genre:f,btitle:aP,title:aP,aulast:a,aufirst:a,au:a,pub:c,date:H,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n587107440e8cea21",title:aP,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-040",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBonniol\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.-L.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1999\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EA propos de la \u003Cem class=\"italic\"\u003EWorld Music\u003C\u002Fem\u003E: Logiques de production et de réception\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003EUniversalisation et différenciation des modèles culturels\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EAbou\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ESélim\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EHaddad\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EKatia\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Eds.), Beyrouth – Montréal, Université Saint-Joseph – AUPELF-UREF, coll. \u003Cspan class=\"publisher-name\"\u003EUniversités francophones\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E320\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E338\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Universalisation et différenciation des modèles culturels' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Universalisation+et+diff%C3%A9renciation+des+mod%C3%A8les+culturels&author=Bonniol+J.-L.&author=Abou+S%C3%A9lim&author=Haddad+Katia&publication+year=1999&pages=320-338\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Universalisation+et+diff%C3%A9renciation+des+mod%C3%A8les+culturels&author=Bonniol+J.-L.&author=Abou+S%C3%A9lim&author=Haddad+Katia&publication+year=1999&pages=320-338",openUrlParams:{genre:i,btitle:aQ,title:aQ,atitle:"A propos de la World Music: Logiques de production et de réception",aulast:a,aufirst:a,au:a,pub:"Universités francophones",date:v,spage:"320",epage:"338",doi:a,sid:d},innerRefId:"auto_ref-ne2e4d5a3666c0164",title:aQ,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-041",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBourdieu\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1997\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EMéditations pascaliennes\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Seuil, coll. Liber\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Méditations pascaliennes' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=M%C3%A9ditations+pascaliennes&author=Bourdieu+P.&publication+year=1997\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=M%C3%A9ditations+pascaliennes&author=Bourdieu+P.&publication+year=1997",openUrlParams:{genre:f,btitle:aR,title:aR,aulast:a,aufirst:a,au:a,pub:c,date:L,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n253adbe1d592bba2",title:aR,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-042",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBourdieu\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELes règles de l’art: Genèse et structure du champ littéraire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ESeuil\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les règles de l’art: Genèse et structure du champ littéraire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+r%C3%A8gles+de+l%E2%80%99art%3A+Gen%C3%A8se+et+structure+du+champ+litt%C3%A9raire&author=Bourdieu+P.&publication+year=1992\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+r%C3%A8gles+de+l%E2%80%99art%3A+Gen%C3%A8se+et+structure+du+champ+litt%C3%A9raire&author=Bourdieu+P.&publication+year=1992",openUrlParams:{genre:f,btitle:aS,title:aS,aulast:a,aufirst:a,au:a,pub:P,date:m,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nefac6e4f2d72dee5",title:aS,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-043",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBourdieu\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1984\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EQuestions de sociologie\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EMinuit\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Questions de sociologie' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Questions+de+sociologie&author=Bourdieu+P.&publication+year=1984\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Questions+de+sociologie&author=Bourdieu+P.&publication+year=1984",openUrlParams:{genre:f,btitle:aT,title:aT,aulast:a,aufirst:a,au:a,pub:aU,date:U,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n472643f86a72f1dd",title:aT,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-044",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBoutin\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA. B.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKouadio\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ. N.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2015\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003ELe nouchi c’est notre créole en quelque sorte, qui est parlé par presque toute la Côte d’Ivoire\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EDynamique des français africains: entre le culturel et le linguistique\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBlumenthal\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EPeter\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EBerne, Éditions Peter Lang\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2015\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E251\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E271\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Dynamique des français africains: entre le culturel et le linguistique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Dynamique+des+fran%C3%A7ais+africains%3A+entre+le+culturel+et+le+linguistique&author=Boutin+A.+B.&author=Kouadio+J.+N.&author=Blumenthal+Peter&publication+year=2015&pages=251-271\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Dynamique+des+fran%C3%A7ais+africains%3A+entre+le+culturel+et+le+linguistique&author=Boutin+A.+B.&author=Kouadio+J.+N.&author=Blumenthal+Peter&publication+year=2015&pages=251-271",openUrlParams:{genre:i,btitle:aV,title:aV,atitle:"Le nouchi c’est notre créole en quelque sorte, qui est parlé par presque toute la Côte d’Ivoire",aulast:a,aufirst:a,au:a,pub:c,date:x,spage:dR,epage:"271",doi:a,sid:d},innerRefId:"auto_ref-ndeb854a9ab721135",title:aV,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-045",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBriard\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EF.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2008\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ETiken Jah Fakoly: l’Afrique ne pleure plus, elle parle\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EÉditions Arènes\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Tiken Jah Fakoly: l’Afrique ne pleure plus, elle parle' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Tiken+Jah+Fakoly%3A+l%E2%80%99Afrique+ne+pleure+plus%2C+elle+parle&author=Briard+F.&publication+year=2008\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Tiken+Jah+Fakoly%3A+l%E2%80%99Afrique+ne+pleure+plus%2C+elle+parle&author=Briard+F.&publication+year=2008",openUrlParams:{genre:f,btitle:aW,title:aW,aulast:a,aufirst:a,au:a,pub:"Éditions Arènes",date:J,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nd7112f78216de74c",title:aW,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-046",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBrou\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EK. D.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"year\"\u003E2018\u003C\u002Fspan\u003Ea, \u003Cspan class=\"source\"\u003ETiken Jah Fakoly: Quand le reggae s’arrime à la pensée. Tome 1. La pensée universitaire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Tiken Jah Fakoly: Quand le reggae s’arrime à la pensée. Tome 1. La pensée universitaire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Tiken+Jah+Fakoly%3A+Quand+le+reggae+s%E2%80%99arrime+%C3%A0+la+pens%C3%A9e.+Tome+1.+La+pens%C3%A9e+universitaire&author=Brou+K.+D.&publication+year=2018\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Tiken+Jah+Fakoly%3A+Quand+le+reggae+s%E2%80%99arrime+%C3%A0+la+pens%C3%A9e.+Tome+1.+La+pens%C3%A9e+universitaire&author=Brou+K.+D.&publication+year=2018",openUrlParams:{genre:f,btitle:aX,title:aX,aulast:a,aufirst:a,au:a,pub:c,date:q,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n2eab00296e6d06a4",title:aX,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-047",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBrou\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EK. D.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"year\"\u003E2018\u003C\u002Fspan\u003Eb, \u003Cspan class=\"source\"\u003ETiken Jah Fakoly: Quand le reggae s’arrime à la pensée. Tome 2. Penser et panser l’Afrique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Tiken Jah Fakoly: Quand le reggae s’arrime à la pensée. Tome 2. Penser et panser l’Afrique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Tiken+Jah+Fakoly%3A+Quand+le+reggae+s%E2%80%99arrime+%C3%A0+la+pens%C3%A9e.+Tome+2.+Penser+et+panser+l%E2%80%99Afrique&author=Brou+K.+D.&publication+year=2018\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Tiken+Jah+Fakoly%3A+Quand+le+reggae+s%E2%80%99arrime+%C3%A0+la+pens%C3%A9e.+Tome+2.+Penser+et+panser+l%E2%80%99Afrique&author=Brou+K.+D.&publication+year=2018",openUrlParams:{genre:f,btitle:aY,title:aY,aulast:a,aufirst:a,au:a,pub:c,date:q,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-ne91ed770c74d3de7",title:aY,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-048",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ECaillé\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EAnthropologie du don: Le tiers paradigme\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ELa Découverte\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Anthropologie du don: Le tiers paradigme' href=https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fdec.caill.2007.02\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Anthropologie du don: Le tiers paradigme' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Anthropologie+du+don%3A+Le+tiers+paradigme&author=Caill%C3%A9+A.&publication+year=2007\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Anthropologie+du+don%3A+Le+tiers+paradigme&author=Caill%C3%A9+A.&publication+year=2007",openUrlParams:{genre:f,btitle:aZ,title:aZ,aulast:a,aufirst:a,au:a,pub:aK,date:l,tpages:c,doi:dS,sid:d},innerRefId:"auto_ref-nb38065de1c2d513a",title:aZ,doi:dS,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fdec.caill.2007.02",pubMedLink:a}]},{id:"REFe-r-049",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ECamara\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ES\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EGens de la parole: Essai sur la condition du griot dans la société malinké\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EKarthala\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Gens de la parole: Essai sur la condition du griot dans la société malinké' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Gens+de+la+parole%3A+Essai+sur+la+condition+du+griot+dans+la+soci%C3%A9t%C3%A9+malink%C3%A9&author=Camara+S&publication+year=1992\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Gens+de+la+parole%3A+Essai+sur+la+condition+du+griot+dans+la+soci%C3%A9t%C3%A9+malink%C3%A9&author=Camara+S&publication+year=1992",openUrlParams:{genre:f,btitle:a_,title:a_,aulast:a,aufirst:a,au:a,pub:z,date:m,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nb1a7e8f5d2d7012",title:a_,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-050",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ECastoriadis\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1975\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EL’institution imaginaire de la société\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ESeuil\u003C\u002Fspan\u003E, coll. Points.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for L’institution imaginaire de la société' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99institution+imaginaire+de+la+soci%C3%A9t%C3%A9&author=Castoriadis+C.&publication+year=1975\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99institution+imaginaire+de+la+soci%C3%A9t%C3%A9&author=Castoriadis+C.&publication+year=1975",openUrlParams:{genre:f,btitle:a$,title:a$,aulast:a,aufirst:a,au:a,pub:P,date:dT,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n629c50389a2e934a",title:a$,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-051",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ECauquelin\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1999\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELes théories de l’art\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, PUF\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les théories de l’art' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+th%C3%A9ories+de+l%E2%80%99art&author=Cauquelin+A.&publication+year=1999\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+th%C3%A9ories+de+l%E2%80%99art&author=Cauquelin+A.&publication+year=1999",openUrlParams:{genre:f,btitle:ba,title:ba,aulast:a,aufirst:a,au:a,pub:c,date:v,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nfa1625e9db2eb2a2",title:ba,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-052",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ECaune\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1995\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ECulture et communication: Convergences théoriques et lieux de médiation\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EGrenoble, Presses universitaires de Grenoble\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Culture et communication: Convergences théoriques et lieux de médiation' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Culture+et+communication%3A+Convergences+th%C3%A9oriques+et+lieux+de+m%C3%A9diation&author=Caune+J.&publication+year=1995\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Culture+et+communication%3A+Convergences+th%C3%A9oriques+et+lieux+de+m%C3%A9diation&author=Caune+J.&publication+year=1995",openUrlParams:{genre:f,btitle:bb,title:bb,aulast:a,aufirst:a,au:a,pub:c,date:dU,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n8499f837300ea9e5",title:bb,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-053",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ECissé\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EY. T.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKamissoko\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EW.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1988\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa grande geste du Mali: Des origines à la fondation de l’empire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EAssociation ARSAN\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La grande geste du Mali: Des origines à la fondation de l’empire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+grande+geste+du+Mali%3A+Des+origines+%C3%A0+la+fondation+de+l%E2%80%99empire&author=Ciss%C3%A9+Y.+T.&author=Kamissoko+W.&publication+year=1988\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+grande+geste+du+Mali%3A+Des+origines+%C3%A0+la+fondation+de+l%E2%80%99empire&author=Ciss%C3%A9+Y.+T.&author=Kamissoko+W.&publication+year=1988",openUrlParams:{genre:f,btitle:bc,title:bc,aulast:a,aufirst:a,au:a,pub:"Association ARSAN",date:K,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n1c13cde0710ec8dd",title:bc,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-054",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ECollins\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EWest African Pop Roots\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EPhiladelphia\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ETemple University Press\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for West African Pop Roots' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=West+African+Pop+Roots&author=Collins+J.&publication+year=1992\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=West+African+Pop+Roots&author=Collins+J.&publication+year=1992",openUrlParams:{genre:f,btitle:bd,title:bd,aulast:a,aufirst:a,au:a,pub:"Temple University Press",date:m,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n20fd43217e734bfd",title:bd,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-055",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EComan\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2003\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EPour une anthropologie des médias\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EGrenoble, Presses universitaires de Grenoble\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Pour une anthropologie des médias' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Pour+une+anthropologie+des+m%C3%A9dias&author=Coman+M.&publication+year=2003\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Pour+une+anthropologie+des+m%C3%A9dias&author=Coman+M.&publication+year=2003",openUrlParams:{genre:f,btitle:be,title:be,aulast:a,aufirst:a,au:a,pub:c,date:M,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nb87754d2bf736ad5",title:be,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-056",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EContreras\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2016\u003C\u002Fspan\u003E, \u003Cem class=\"italic\"\u003EMusiques du monde sur Jacques Bizollon\u003C\u002Fem\u003E, Radio France internationale \u003Ca class=\"uri\" href=\"https:\u002F\u002Fmusique.rfi.fr\u002Femission\u002Finfo\u002Fmusiques-monde\u002F20160203-2-jacques-bizollon\"\u003Ehttps:\u002F\u002Fmusique.rfi.fr\u002Femission\u002Finfo\u002Fmusiques-monde\u002F20160203-2-jacques-bizollon\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Contreras, A., 2016, Musiques du monde sur Jacques Bizollon, Radio France internationale https:\u002F\u002Fmusique.rfi.fr\u002Femission\u002Finfo\u002Fmusiques-monde\u002F20160203-2-jacques-bizollon.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Contreras,+A.,+2016,+Musiques+du+monde+sur+Jacques+Bizollon,+Radio+France+internationale+https:\u002F\u002Fmusique.rfi.fr\u002Femission\u002Finfo\u002Fmusiques-monde\u002F20160203-2-jacques-bizollon.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Contreras,+A.,+2016,+Musiques+du+monde+sur+Jacques+Bizollon,+Radio+France+internationale+https:\u002F\u002Fmusique.rfi.fr\u002Femission\u002Finfo\u002Fmusiques-monde\u002F20160203-2-jacques-bizollon.",openUrlParams:{genre:k,date:F,sid:d,title:c},innerRefId:"auto_ref-n42faeb3814548e68",title:"Contreras, A., 2016, Musiques du monde sur Jacques Bizollon, Radio France internationale https:\u002F\u002Fmusique.rfi.fr\u002Femission\u002Finfo\u002Fmusiques-monde\u002F20160203-2-jacques-bizollon.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-057",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ECopans\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1993\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EIntellectuels visibles, intellectuels invisibles\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EPolitique Africaine\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E51\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E7\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E25\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Intellectuels visibles, intellectuels invisibles' href=https:\u002F\u002Fdx.doi.org\u002F10.3406\u002Fpolaf.1993.5682\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Intellectuels visibles, intellectuels invisibles' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Intellectuels+visibles%2C+intellectuels+invisibles&author=Copans+J.&publication+year=1993&journal=Politique+Africaine&volume=51&doi=10.3406%2Fpolaf.1993.5682&pages=7-25\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Intellectuels+visibles%2C+intellectuels+invisibles&author=Copans+J.&publication+year=1993&journal=Politique+Africaine&volume=51&doi=10.3406%2Fpolaf.1993.5682&pages=7-25",openUrlParams:{genre:h,atitle:dV,jtitle:dW,title:dW,volume:bf,artnum:"67447dca21c8183ee4eb275f",spage:W,epage:dX,date:V,sid:d,aulast:a,aufirst:a,doi:dY,au:a},innerRefId:"auto_ref-n9097d17b5d591d59",title:dV,doi:dY,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3406\u002Fpolaf.1993.5682",pubMedLink:a}]},{id:"REFe-r-058",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDagri\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2019\u003C\u002Fspan\u003Ea, ‘La fanfare des peuples de la côtière de Côte d’Ivoire: d’hier à aujourd’hui’, \u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.universitepopulairemeroeafrica.org\"\u003Ewww.universitepopulairemeroeafrica.org\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Dagri, P., 2019a, ‘La fanfare des peuples de la côtière de Côte d’Ivoire: d’hier à aujourd’hui’, www.universitepopulairemeroeafrica.org.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Dagri,+P.,+2019a,+‘La+fanfare+des+peuples+de+la+côtière+de+Côte+d’Ivoire:+d’hier+à+aujourd’hui’,+www.universitepopulairemeroeafrica.org.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Dagri,+P.,+2019a,+‘La+fanfare+des+peuples+de+la+côtière+de+Côte+d’Ivoire:+d’hier+à+aujourd’hui’,+www.universitepopulairemeroeafrica.org.",openUrlParams:{genre:k,date:bg,sid:d,title:c},innerRefId:"auto_ref-n51cf2fc06b99244b",title:"Dagri, P., 2019a, ‘La fanfare des peuples de la côtière de Côte d’Ivoire: d’hier à aujourd’hui’, www.universitepopulairemeroeafrica.org.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-059",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDagri\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2019\u003C\u002Fspan\u003Eb, ‘The sound phenomenon in Africa – music: A semiological approach’, \u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.universitepopulairemeroeafrica.org\"\u003Ewww.universitepopulairemeroeafrica.org\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Dagri, P., 2019b, ‘The sound phenomenon in Africa – music: A semiological approach’, www.universitepopulairemeroeafrica.org.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Dagri,+P.,+2019b,+‘The+sound+phenomenon+in+Africa+–+music:+A+semiological+approach’,+www.universitepopulairemeroeafrica.org.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Dagri,+P.,+2019b,+‘The+sound+phenomenon+in+Africa+–+music:+A+semiological+approach’,+www.universitepopulairemeroeafrica.org.",openUrlParams:{genre:k,date:bg,sid:d,title:c},innerRefId:"auto_ref-n8908ab4bd354e390",title:"Dagri, P., 2019b, ‘The sound phenomenon in Africa – music: A semiological approach’, www.universitepopulairemeroeafrica.org.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-060",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDédy\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ES.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1986\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EVers une définition de l’Art chez les Bété: le mythe de Srèlè\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003ELa musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWondji\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EChristophe\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPrésence Africaine\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E27\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E41\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=D%C3%A9dy+S.&author=Wondji+Christophe&publication+year=1986&pages=27-41\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=D%C3%A9dy+S.&author=Wondji+Christophe&publication+year=1986&pages=27-41",openUrlParams:{genre:i,btitle:o,title:o,atitle:"Vers une définition de l’Art chez les Bété: le mythe de Srèlè",aulast:a,aufirst:a,au:a,pub:X,date:r,spage:Y,epage:dZ,doi:a,sid:d},innerRefId:"auto_ref-nc04826bd380faf25",title:o,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-061",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDédy\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ES.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1984\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EMusique traditionnelle et développement national en Côte d’Ivoire\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ETiers-Monde\u003Cem class=\"italic\"\u003E, Vol. 25\u003C\u002Fem\u003E\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E97\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E109\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E124\u003C\u002Fspan\u003E; DOI: \u003Ca class=\"uri\" href=\"https:\u002F\u002Fdoi.org\u002F10.3406\u002Ftiers.1984.3361\"\u003Ehttps:\u002F\u002Fdoi.org\u002F10.3406\u002Ftiers.1984.3361\u003C\u002Fa\u003E. \u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.persee.fr\u002Fdoc\u002Ftiers%5F0040-7356%5F1984%5Fnum%5F25%5F97%5F3361\"\u003Ewww.persee.fr\u002Fdoc\u002Ftiers_0040-7356_1984_num_25_97_3361\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Musique traditionnelle et développement national en Côte d’Ivoire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Musique+traditionnelle+et+d%C3%A9veloppement+national+en+C%C3%B4te+d%E2%80%99Ivoire&author=D%C3%A9dy+S.&publication+year=1984&journal=Tiers-Monde%2C+Vol.+25&volume=97&pages=109-124\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Musique+traditionnelle+et+d%C3%A9veloppement+national+en+C%C3%B4te+d%E2%80%99Ivoire&author=D%C3%A9dy+S.&publication+year=1984&journal=Tiers-Monde%2C+Vol.+25&volume=97&pages=109-124",openUrlParams:{genre:h,atitle:d_,jtitle:d$,title:d$,volume:ea,artnum:"67447dca21c8183ee4eb2763",spage:eb,epage:"124",date:U,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-nbd99cfdfed455b4",title:d_,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-062",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDerrida\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1966\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ENature, culture, écriture: La violence de la lettre de Lévi-Strauss à Rousseau\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EENS, typewritten document\u003C\u002Fspan\u003E. Available at \u003Ca class=\"uri\" href=\"http:\u002F\u002Fcahiers.kingston.ac.uk\u002Fvol04\u002Fcpa4.1.derrida.html\"\u003Ehttp:\u002F\u002Fcahiers.kingston.ac.uk\u002Fvol04\u002Fcpa4.1.derrida.html\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Nature, culture, écriture: La violence de la lettre de Lévi-Strauss à Rousseau' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Nature%2C+culture%2C+%C3%A9criture%3A+La+violence+de+la+lettre+de+L%C3%A9vi-Strauss+%C3%A0+Rousseau&author=Derrida+J.&publication+year=1966\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Nature%2C+culture%2C+%C3%A9criture%3A+La+violence+de+la+lettre+de+L%C3%A9vi-Strauss+%C3%A0+Rousseau&author=Derrida+J.&publication+year=1966",openUrlParams:{genre:f,btitle:bh,title:bh,aulast:a,aufirst:a,au:a,pub:"ENS, typewritten document",date:ec,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n5769da3cb49ad803",title:bh,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-063",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDiawarra\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2015\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EBreaking the contract? Handling intangible cultural goods among different generations in Mali\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003ECopyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERöschenthaler\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EUte\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDiawarra\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EMamadou\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Eds.), \u003Cspan class=\"publisher-name\"\u003ECanon Pyon, Sean Kingston Publishing\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E242\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E265\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Copyright+Africa%3A+How+Intellectual+Property%2C+Media+and+Markets+Transform+Immaterial+Cultural+Goods&author=Diawarra+M.&author=R%C3%B6schenthaler+Ute&author=Diawarra+Mamadou&publication+year=2015&pages=242-265\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Copyright+Africa%3A+How+Intellectual+Property%2C+Media+and+Markets+Transform+Immaterial+Cultural+Goods&author=Diawarra+M.&author=R%C3%B6schenthaler+Ute&author=Diawarra+Mamadou&publication+year=2015&pages=242-265",openUrlParams:{genre:i,btitle:p,title:p,atitle:"Breaking the contract? Handling intangible cultural goods among different generations in Mali",aulast:a,aufirst:a,au:a,pub:ed,date:x,spage:"242",epage:ee,doi:a,sid:d},innerRefId:"auto_ref-n855f19a5d5b58b07",title:p,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-064",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDjédjé\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.-P.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2020\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EL’épopée de la pop music ivoirienne\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EAbidjan, Edilis\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for L’épopée de la pop music ivoirienne' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99%C3%A9pop%C3%A9e+de+la+pop+music+ivoirienne&author=Dj%C3%A9dj%C3%A9+A.-P.&publication+year=2020\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99%C3%A9pop%C3%A9e+de+la+pop+music+ivoirienne&author=Dj%C3%A9dj%C3%A9+A.-P.&publication+year=2020",openUrlParams:{genre:f,btitle:bi,title:bi,aulast:a,aufirst:a,au:a,pub:c,date:A,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-ne121ad22638095b9",title:bi,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-065",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDjédjé\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EN. D.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2005\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003ELe développement et la question de l’expression “on est en Afrique”. Essai de réflexion psychosociologique sur un facteur idéologique du sous-développement en Afrique\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EKasa Bya Kasa: Revue ivoirienne d’anthrolopologie et de sociologie\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E7\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E73\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E86\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le développement et la question de l’expression “on est en Afrique”. Essai de réflexion psychosociologique sur un facteur idéologique du sous-développement en Afrique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+d%C3%A9veloppement+et+la+question+de+l%E2%80%99expression+%E2%80%9Con+est+en+Afrique%E2%80%9D.+Essai+de+r%C3%A9flexion+psychosociologique+sur+un+facteur+id%C3%A9ologique+du+sous-d%C3%A9veloppement+en+Afrique&author=Dj%C3%A9dj%C3%A9+N.+D.&publication+year=2005&journal=Kasa+Bya+Kasa%3A+Revue+ivoirienne+d%E2%80%99anthrolopologie+et+de+sociologie&volume=7&pages=73-86\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+d%C3%A9veloppement+et+la+question+de+l%E2%80%99expression+%E2%80%9Con+est+en+Afrique%E2%80%9D.+Essai+de+r%C3%A9flexion+psychosociologique+sur+un+facteur+id%C3%A9ologique+du+sous-d%C3%A9veloppement+en+Afrique&author=Dj%C3%A9dj%C3%A9+N.+D.&publication+year=2005&journal=Kasa+Bya+Kasa%3A+Revue+ivoirienne+d%E2%80%99anthrolopologie+et+de+sociologie&volume=7&pages=73-86",openUrlParams:{genre:h,atitle:ef,jtitle:eg,title:eg,volume:W,artnum:"67447dca21c8183ee4eb2767",spage:"73",epage:eh,date:t,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-nabab4389bb6088fc",title:ef,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-066",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDollfus\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EO.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa mondialisation\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPresses de la fondation nationale des Sciences Politiques\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for La mondialisation' href=https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fscpo.dollf.2007.01\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La mondialisation' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+mondialisation&author=Dollfus+O.&publication+year=2007\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+mondialisation&author=Dollfus+O.&publication+year=2007",openUrlParams:{genre:f,btitle:bj,title:bj,aulast:a,aufirst:a,au:a,pub:"Presses de la fondation nationale des Sciences Politiques",date:l,tpages:c,doi:ei,sid:d},innerRefId:"auto_ref-n6cccded6c9a0d3ee",title:bj,doi:ei,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fscpo.dollf.2007.01",pubMedLink:a}]},{id:"REFe-r-067",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDoua\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EE.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2020\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EReggae, ideologies et luttes émancipatrices en Afrique\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EHermès\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E86\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E158\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E163\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Reggae, ideologies et luttes émancipatrices en Afrique' href=https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fherm.086.0158\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Reggae, ideologies et luttes émancipatrices en Afrique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Reggae%2C+ideologies+et+luttes+%C3%A9mancipatrices+en+Afrique&author=Doua+E.&publication+year=2020&journal=Herm%C3%A8s&volume=86&doi=10.3917%2Fherm.086.0158&pages=158-163\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Reggae%2C+ideologies+et+luttes+%C3%A9mancipatrices+en+Afrique&author=Doua+E.&publication+year=2020&journal=Herm%C3%A8s&volume=86&doi=10.3917%2Fherm.086.0158&pages=158-163",openUrlParams:{genre:h,atitle:ej,jtitle:ek,title:ek,volume:eh,artnum:"67447dca21c8183ee4eb2769",spage:"158",epage:"163",date:A,sid:d,aulast:a,aufirst:a,doi:el,au:a},innerRefId:"auto_ref-nc446b38616a0f2c6",title:ej,doi:el,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fherm.086.0158",pubMedLink:a}]},{id:"REFe-r-068",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDoua\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EE.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2009\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELes médias dans les politiques culturelles africaines: Le cas du MASA en Côte d’Ivoire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EDoctoral thesis, Bordeaux, Université Michel de Montaigne Bordeaux 3\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les médias dans les politiques culturelles africaines: Le cas du MASA en Côte d’Ivoire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+m%C3%A9dias+dans+les+politiques+culturelles+africaines%3A+Le+cas+du+MASA+en+C%C3%B4te+d%E2%80%99Ivoire&author=Doua+E.&publication+year=2009\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+m%C3%A9dias+dans+les+politiques+culturelles+africaines%3A+Le+cas+du+MASA+en+C%C3%B4te+d%E2%80%99Ivoire&author=Doua+E.&publication+year=2009",openUrlParams:{genre:f,btitle:bk,title:bk,aulast:a,aufirst:a,au:a,pub:"Doctoral thesis, Bordeaux, Université Michel de Montaigne Bordeaux 3",date:y,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n528d4d350f0019ed",title:bk,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-069",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDoumergue\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ED.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1981\u003C\u002Fspan\u003E, ‘Essai sur l’alcoolisme en Côte d’Ivoire, 1900\u003Cem class=\"italic\"\u003E–\u003C\u002Fem\u003E1958’, \u003Cem class=\"italic\"\u003EAnnales de l’Université d’Abidjan, Série I (Histoire), Tome IX, pp. 99–120.\u003C\u002Fem\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Doumergue, D., 1981, ‘Essai sur l’alcoolisme en Côte d’Ivoire, 1900–1958’, Annales de l’Université d’Abidjan, Série I (Histoire), Tome IX, pp. 99–120.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Doumergue,+D.,+1981,+‘Essai+sur+l’alcoolisme+en+Côte+d’Ivoire,+1900–1958’,+Annales+de+l’Université+d’Abidjan,+Série+I+(Histoire),+Tome+IX,+pp.+99–120.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Doumergue,+D.,+1981,+‘Essai+sur+l’alcoolisme+en+Côte+d’Ivoire,+1900–1958’,+Annales+de+l’Université+d’Abidjan,+Série+I+(Histoire),+Tome+IX,+pp.+99–120.",openUrlParams:{genre:k,date:bl,sid:d,title:c},innerRefId:"auto_ref-n1d70e39c64e03d20",title:"Doumergue, D., 1981, ‘Essai sur l’alcoolisme en Côte d’Ivoire, 1900–1958’, Annales de l’Université d’Abidjan, Série I (Histoire), Tome IX, pp. 99–120.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-070",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDurkheim\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EE.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, 1912[\u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E], \u003Cspan class=\"source\"\u003ELes formes élémentaires de la vie religieuse: Le système totémique en Australie\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ECNRS Éditions\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les formes élémentaires de la vie religieuse: Le système totémique en Australie' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+formes+%C3%A9l%C3%A9mentaires+de+la+vie+religieuse%3A+Le+syst%C3%A8me+tot%C3%A9mique+en+Australie&author=Durkheim+E.&publication+year=2007\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+formes+%C3%A9l%C3%A9mentaires+de+la+vie+religieuse%3A+Le+syst%C3%A8me+tot%C3%A9mique+en+Australie&author=Durkheim+E.&publication+year=2007",openUrlParams:{genre:f,btitle:bm,title:bm,aulast:a,aufirst:a,au:a,pub:"CNRS Éditions",date:l,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-ne140a269b5fbe46a",title:bm,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-071",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDuvignaud\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1991\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EFêtes et civilisations, followed by La fête aujourd’hui\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Actes Sud\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Fêtes et civilisations, followed by La fête aujourd’hui' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=F%C3%AAtes+et+civilisations%2C+followed+by+La+f%C3%AAte+aujourd%E2%80%99hui&author=Duvignaud+J.&publication+year=1991\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=F%C3%AAtes+et+civilisations%2C+followed+by+La+f%C3%AAte+aujourd%E2%80%99hui&author=Duvignaud+J.&publication+year=1991",openUrlParams:{genre:f,btitle:bn,title:bn,aulast:a,aufirst:a,au:a,pub:c,date:Z,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n78dab71af2fb0742",title:bn,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-072",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EEboussi Boulaga\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EF.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1977\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa crise du muntu: Authenticité africaine et philosophie\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPrésence africaine\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La crise du muntu: Authenticité africaine et philosophie' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+crise+du+muntu%3A+Authenticit%C3%A9+africaine+et+philosophie&author=Eboussi+Boulaga+F.&publication+year=1977\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+crise+du+muntu%3A+Authenticit%C3%A9+africaine+et+philosophie&author=Eboussi+Boulaga+F.&publication+year=1977",openUrlParams:{genre:f,btitle:bo,title:bo,aulast:a,aufirst:a,au:a,pub:T,date:em,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n34c4a604bdb3a85",title:bo,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-073",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBoto\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EEza\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1954\u003C\u002Fspan\u003E[1971], \u003Cspan class=\"source\"\u003EVille cruelle\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPrésence africaine\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Ville cruelle' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Ville+cruelle&author=Boto+Eza&publication+year=1954\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Ville+cruelle&author=Boto+Eza&publication+year=1954",openUrlParams:{genre:f,btitle:bp,title:bp,aulast:a,aufirst:a,au:a,pub:T,date:"1954",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n9ac65f1188db5dfd",title:bp,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-074",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EFanon\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EF.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1961\u003C\u002Fspan\u003E[2002], \u003Cspan class=\"source\"\u003ELes damnés de la terre\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ELa Découverte.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les damnés de la terre' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+damn%C3%A9s+de+la+terre&author=Fanon+F.&publication+year=1961\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+damn%C3%A9s+de+la+terre&author=Fanon+F.&publication+year=1961",openUrlParams:{genre:f,btitle:bq,title:bq,aulast:a,aufirst:a,au:a,pub:"La Découverte.",date:en,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nf25830c2c9db7cd5",title:bq,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-075",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EFarred\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2003\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EWhat’s My Name? Black Vernacular Intellectuals\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EMinneapolis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EUniversity of Minnesota Press\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for What’s My Name? Black Vernacular Intellectuals' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=What%E2%80%99s+My+Name%3F+Black+Vernacular+Intellectuals&author=Farred+G.&publication+year=2003\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=What%E2%80%99s+My+Name%3F+Black+Vernacular+Intellectuals&author=Farred+G.&publication+year=2003",openUrlParams:{genre:f,btitle:br,title:br,aulast:a,aufirst:a,au:a,pub:"University of Minnesota Press",date:M,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n751e0c1ea1c806",title:br,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-076",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EFié Doh\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EL.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2012\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EMusiques populaires urbaines et stratégies du refus en Côte d’Ivoire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EEdilivre\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Musiques populaires urbaines et stratégies du refus en Côte d’Ivoire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Musiques+populaires+urbaines+et+strat%C3%A9gies+du+refus+en+C%C3%B4te+d%E2%80%99Ivoire&author=Fi%C3%A9+Doh+L.&publication+year=2012\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Musiques+populaires+urbaines+et+strat%C3%A9gies+du+refus+en+C%C3%B4te+d%E2%80%99Ivoire&author=Fi%C3%A9+Doh+L.&publication+year=2012",openUrlParams:{genre:f,btitle:bs,title:bs,aulast:a,aufirst:a,au:a,pub:"Edilivre",date:bt,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n678ff3bd5fa1eb7e",title:bs,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-077",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EFlichy\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2010\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELe sacre de l’amateur: Sociologie des passions ordinaires à l’ère du numérique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ESeuil\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le sacre de l’amateur: Sociologie des passions ordinaires à l’ère du numérique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+sacre+de+l%E2%80%99amateur%3A+Sociologie+des+passions+ordinaires+%C3%A0+l%E2%80%99%C3%A8re+du+num%C3%A9rique&author=Flichy+P.&publication+year=2010\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+sacre+de+l%E2%80%99amateur%3A+Sociologie+des+passions+ordinaires+%C3%A0+l%E2%80%99%C3%A8re+du+num%C3%A9rique&author=Flichy+P.&publication+year=2010",openUrlParams:{genre:f,btitle:bu,title:bu,aulast:a,aufirst:a,au:a,pub:P,date:u,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nff01c56e9ca10a56",title:bu,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-078",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EFlichy\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1991\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELes industries de l’imaginaire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EGrenoble\u003Cem class=\"italic\"\u003E,\u003C\u002Fem\u003E Presses universitaires de Grenoble\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les industries de l’imaginaire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+industries+de+l%E2%80%99imaginaire&author=Flichy+P.&publication+year=1991\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+industries+de+l%E2%80%99imaginaire&author=Flichy+P.&publication+year=1991",openUrlParams:{genre:f,btitle:bv,title:bv,aulast:a,aufirst:a,au:a,pub:c,date:Z,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n569bde1fdda12d8e",title:bv,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-079",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EFeld\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ES.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1988\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003ENote on world beat\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EPublic Culture\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E1\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E1\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E31\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E37\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Note on world beat' href=https:\u002F\u002Fdx.doi.org\u002F10.1215\u002F08992363-1-1-31\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Note on world beat' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Note+on+world+beat&author=Feld+S.&publication+year=1988&journal=Public+Culture&volume=1&doi=10.1215%2F08992363-1-1-31&pages=31-37\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Note+on+world+beat&author=Feld+S.&publication+year=1988&journal=Public+Culture&volume=1&doi=10.1215%2F08992363-1-1-31&pages=31-37",openUrlParams:{genre:h,atitle:eo,jtitle:ep,title:ep,volume:s,artnum:"67447dca21c8183ee4eb2775",spage:eq,epage:"37",date:K,sid:d,aulast:a,aufirst:a,doi:er,au:a},innerRefId:"auto_ref-nf7fadf3d12dc10ed",title:eo,doi:er,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1215\u002F08992363-1-1-31",pubMedLink:a}]},{id:"REFe-r-080",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EForest\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.-O.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2013\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EPoïétique de la création sonore au cinéma: La figure de l’artiste-poïéticien\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EMaster’s thesis, Université de Montréal\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Poïétique de la création sonore au cinéma: La figure de l’artiste-poïéticien' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Po%C3%AF%C3%A9tique+de+la+cr%C3%A9ation+sonore+au+cin%C3%A9ma%3A+La+figure+de+l%E2%80%99artiste-po%C3%AF%C3%A9ticien&author=Forest+P.-O.&publication+year=2013\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Po%C3%AF%C3%A9tique+de+la+cr%C3%A9ation+sonore+au+cin%C3%A9ma%3A+La+figure+de+l%E2%80%99artiste-po%C3%AF%C3%A9ticien&author=Forest+P.-O.&publication+year=2013",openUrlParams:{genre:f,btitle:bw,title:bw,aulast:a,aufirst:a,au:a,pub:"Master’s thesis, Université de Montréal",date:H,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n462178ec0b3c27b4",title:bw,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-081",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EFougeyrollas\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1987\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELes métamorphoses de la crise: Racismes et révolutions au XXe siècle\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EHachette\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les métamorphoses de la crise: Racismes et révolutions au XXe siècle' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+m%C3%A9tamorphoses+de+la+crise%3A+Racismes+et+r%C3%A9volutions+au+XXe+si%C3%A8cle&author=Fougeyrollas+P.&publication+year=1987\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+m%C3%A9tamorphoses+de+la+crise%3A+Racismes+et+r%C3%A9volutions+au+XXe+si%C3%A8cle&author=Fougeyrollas+P.&publication+year=1987",openUrlParams:{genre:f,btitle:bx,title:bx,aulast:a,aufirst:a,au:a,pub:"Hachette",date:es,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n940f4b601c5af7",title:bx,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-082",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGadou\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ED.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2011\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa sorcellerie: Une réalité vivante en Afrique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EAbidjan, Les éditions du CERAP\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La sorcellerie: Une réalité vivante en Afrique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+sorcellerie%3A+Une+r%C3%A9alit%C3%A9+vivante+en+Afrique&author=Gadou+D.&publication+year=2011\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+sorcellerie%3A+Une+r%C3%A9alit%C3%A9+vivante+en+Afrique&author=Gadou+D.&publication+year=2011",openUrlParams:{genre:f,btitle:by,title:by,aulast:a,aufirst:a,au:a,pub:"Abidjan, Les éditions du CERAP",date:ax,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n982ee0e4a11c7a2f",title:by,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-083",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGibert\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELeguern\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EPh\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E., \u003Cspan class=\"year\"\u003E2008\u003C\u002Fspan\u003E, ‘Faire l’histoire des musiques amplifiées en France’, \u003Cem class=\"italic\"\u003EStéréo: Sociologie comparée des musiques populaires, France – Grande-Bretagne\u003C\u002Fem\u003E, Guichen, Éditions Mélanie Seteun, Irma, Musique et société\u002F9, DOI: \u003Ca class=\"uri\" href=\"https:\u002F\u002Fdoi.org\u002F10.4000\u002Fbooks.ms.405\"\u003Ehttps:\u002F\u002Fdoi.org\u002F10.4000\u002Fbooks.ms.405\u003C\u002Fa\u003E, Publication on OpenEdition Books: 12 September 2019.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Gibert, G. & Leguern, Ph., 2008, ‘Faire l’histoire des musiques amplifiées en France’, Stéréo: Sociologie comparée des musiques populaires, France – Grande-Bretagne, Guichen, Éditions Mélanie Seteun, Irma, Musique et société\u002F9, DOI: https:\u002F\u002Fdoi.org\u002F10.4000\u002Fbooks.ms.405, Publication on OpenEdition Books: 12 September 2019.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Gibert,+G.+&+Leguern,+Ph.,+2008,+‘Faire+l’histoire+des+musiques+amplifiées+en+France’,+Stéréo:+Sociologie+comparée+des+musiques+populaires,+France+–+Grande-Bretagne,+Guichen,+Éditions+Mélanie+Seteun,+Irma,+Musique+et+société\u002F9,+DOI:+https:\u002F\u002Fdoi.org\u002F10.4000\u002Fbooks.ms.405,+Publication+on+OpenEdition+Books:+12+September+2019.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Gibert,+G.+&+Leguern,+Ph.,+2008,+‘Faire+l’histoire+des+musiques+amplifiées+en+France’,+Stéréo:+Sociologie+comparée+des+musiques+populaires,+France+–+Grande-Bretagne,+Guichen,+Éditions+Mélanie+Seteun,+Irma,+Musique+et+société\u002F9,+DOI:+https:\u002F\u002Fdoi.org\u002F10.4000\u002Fbooks.ms.405,+Publication+on+OpenEdition+Books:+12+September+2019.",openUrlParams:{genre:k,date:J,sid:d,title:c},innerRefId:"auto_ref-n2291b74206fd9162",title:"Gibert, G. & Leguern, Ph., 2008, ‘Faire l’histoire des musiques amplifiées en France’, Stéréo: Sociologie comparée des musiques populaires, France – Grande-Bretagne, Guichen, Éditions Mélanie Seteun, Irma, Musique et société\u002F9, DOI: https:\u002F\u002Fdoi.org\u002F10.4000\u002Fbooks.ms.405, Publication on OpenEdition Books: 12 September 2019.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-084",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGilroy\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2010\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EThe Black Atlantic: Modernité et double conscience\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Ed. Amsterdam\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for The Black Atlantic: Modernité et double conscience' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+Black+Atlantic%3A+Modernit%C3%A9+et+double+conscience&author=Gilroy+P.&publication+year=2010\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+Black+Atlantic%3A+Modernit%C3%A9+et+double+conscience&author=Gilroy+P.&publication+year=2010",openUrlParams:{genre:f,btitle:bz,title:bz,aulast:a,aufirst:a,au:a,pub:c,date:u,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n2d96391d0f374c1b",title:bz,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-085",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGiddens\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1994\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELes conséquences de la modernité\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les conséquences de la modernité' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+cons%C3%A9quences+de+la+modernit%C3%A9&author=Giddens+A.&publication+year=1994\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+cons%C3%A9quences+de+la+modernit%C3%A9&author=Giddens+A.&publication+year=1994",openUrlParams:{genre:f,btitle:bA,title:bA,aulast:a,aufirst:a,au:a,pub:c,date:aA,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-ne819cc646417635e",title:bA,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-086",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGodelier\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2015\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EL’imaginé, l’imaginaire & le symbolique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ECnrs Éditions\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for L’imaginé, l’imaginaire & le symbolique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99imagin%C3%A9%2C+l%E2%80%99imaginaire+%26+le+symbolique&author=Godelier+M.&publication+year=2015\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99imagin%C3%A9%2C+l%E2%80%99imaginaire+%26+le+symbolique&author=Godelier+M.&publication+year=2015",openUrlParams:{genre:f,btitle:bB,title:bB,aulast:a,aufirst:a,au:a,pub:"Cnrs Éditions",date:x,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nb28362c3bde88691",title:bB,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-087",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGoerg\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EO.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1999\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EIntroduction\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003EFêtes urbaines en Afrique: Espaces, identités et pouvoirs\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGoerg\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EOdile\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EParis, Karthala\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E5\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E13\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Fêtes urbaines en Afrique: Espaces, identités et pouvoirs' href=https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fkart.goerg.1999.01.0005\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Fêtes urbaines en Afrique: Espaces, identités et pouvoirs' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=F%C3%AAtes+urbaines+en+Afrique%3A+Espaces%2C+identit%C3%A9s+et+pouvoirs&author=Goerg+O.&author=Goerg+Odile&publication+year=1999&pages=5-13\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=F%C3%AAtes+urbaines+en+Afrique%3A+Espaces%2C+identit%C3%A9s+et+pouvoirs&author=Goerg+O.&author=Goerg+Odile&publication+year=1999&pages=5-13",openUrlParams:{genre:i,btitle:bC,title:bC,atitle:ad,aulast:a,aufirst:a,au:a,pub:c,date:v,spage:N,epage:bD,doi:et,sid:d},innerRefId:"auto_ref-na05747cfae8b9c9",title:bC,doi:et,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fkart.goerg.1999.01.0005",pubMedLink:a}]},{id:"REFe-r-088",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGoffman\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EE.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1991\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELes cadres de l’expérience\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EMinuit\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les cadres de l’expérience' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+cadres+de+l%E2%80%99exp%C3%A9rience&author=Goffman+E.&publication+year=1991\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+cadres+de+l%E2%80%99exp%C3%A9rience&author=Goffman+E.&publication+year=1991",openUrlParams:{genre:f,btitle:bE,title:bE,aulast:a,aufirst:a,au:a,pub:aU,date:Z,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n5596adb3b0bd2c58",title:bE,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-089",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGondola\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ECh. D.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2003\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EÔ, Kisasa makambo! Métamorphoses et représentations de Kinshasa à travers le discours musical des années 1950–1960\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ELe Mouvement social\u003C\u002Fspan\u003E Vol. \u003Cspan class=\"volume\"\u003E3\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E204\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E109\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E129\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Ô, Kisasa makambo! Métamorphoses et représentations de Kinshasa à travers le discours musical des années 1950–1960' href=https:\u002F\u002Fdx.doi.org\u002F10.2307\u002F3779939\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Ô, Kisasa makambo! Métamorphoses et représentations de Kinshasa à travers le discours musical des années 1950–1960' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=%C3%94%2C+Kisasa+makambo!+M%C3%A9tamorphoses+et+repr%C3%A9sentations+de+Kinshasa+%C3%A0+travers+le+discours+musical+des+ann%C3%A9es+1950%E2%80%931960&author=Gondola+Ch.+D.&publication+year=2003&journal=Le+Mouvement+social&volume=3&doi=10.2307%2F3779939&pages=109-129\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=%C3%94%2C+Kisasa+makambo!+M%C3%A9tamorphoses+et+repr%C3%A9sentations+de+Kinshasa+%C3%A0+travers+le+discours+musical+des+ann%C3%A9es+1950%E2%80%931960&author=Gondola+Ch.+D.&publication+year=2003&journal=Le+Mouvement+social&volume=3&doi=10.2307%2F3779939&pages=109-129",openUrlParams:{genre:h,atitle:eu,jtitle:ev,title:ev,volume:E,artnum:"67447dca21c8183ee4eb277f",spage:eb,epage:ew,date:M,sid:d,aulast:a,aufirst:a,doi:ex,au:a},innerRefId:"auto_ref-nad28876cf1bd4fb0",title:eu,doi:ex,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.2307\u002F3779939",pubMedLink:a}]},{id:"REFe-r-090",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGondola\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ECh. D.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1997\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EOh rio-Ma! Musique et guerre des sexes à Kinshasa: 1930–1990\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ERevue Française d’Histoire d’Outre-Mer\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E4\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E314\u003C\u002Fspan\u003E, 1\u003Csup class=\"sup\"\u003Eer\u003C\u002Fsup\u003E trim., pp. \u003Cspan class=\"fpage\"\u003E51\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E81\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Oh rio-Ma! Musique et guerre des sexes à Kinshasa: 1930–1990' href=https:\u002F\u002Fdx.doi.org\u002F10.3406\u002Foutre.1997.3508\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Oh rio-Ma! Musique et guerre des sexes à Kinshasa: 1930–1990' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Oh+rio-Ma!+Musique+et+guerre+des+sexes+%C3%A0+Kinshasa%3A+1930%E2%80%931990&author=Gondola+Ch.+D.&publication+year=1997&journal=Revue+Fran%C3%A7aise+d%E2%80%99Histoire+d%E2%80%99Outre-Mer&volume=4&doi=10.3406%2Foutre.1997.3508&pages=51-81\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Oh+rio-Ma!+Musique+et+guerre+des+sexes+%C3%A0+Kinshasa%3A+1930%E2%80%931990&author=Gondola+Ch.+D.&publication+year=1997&journal=Revue+Fran%C3%A7aise+d%E2%80%99Histoire+d%E2%80%99Outre-Mer&volume=4&doi=10.3406%2Foutre.1997.3508&pages=51-81",openUrlParams:{genre:h,atitle:ey,jtitle:ez,title:ez,volume:R,artnum:"67447dca21c8183ee4eb2780",spage:bf,epage:"81",date:L,sid:d,aulast:a,aufirst:a,doi:eA,au:a},innerRefId:"auto_ref-n3b572013f61e9247",title:ey,doi:eA,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3406\u002Foutre.1997.3508",pubMedLink:a}]},{id:"REFe-r-091",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGoran\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EK. M. A.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2011\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EMusicologie et développement dans la société ivoirienne\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ESaarbrücken, Éditions Universitaires Européennes\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Musicologie et développement dans la société ivoirienne' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Musicologie+et+d%C3%A9veloppement+dans+la+soci%C3%A9t%C3%A9+ivoirienne&author=Goran+K.+M.+A.&publication+year=2011\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Musicologie+et+d%C3%A9veloppement+dans+la+soci%C3%A9t%C3%A9+ivoirienne&author=Goran+K.+M.+A.&publication+year=2011",openUrlParams:{genre:f,btitle:bF,title:bF,aulast:a,aufirst:a,au:a,pub:"Saarbrücken, Éditions Universitaires Européennes",date:ax,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n26ae0014d49ea503",title:bF,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-092",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGramsci\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1983\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ETextes\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EÉditions Sociales\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Textes' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Textes&author=Gramsci+A.&publication+year=1983\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Textes&author=Gramsci+A.&publication+year=1983",openUrlParams:{genre:f,btitle:bG,title:bG,aulast:a,aufirst:a,au:a,pub:"Éditions Sociales",date:dq,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-ne111d7722c7ed846",title:bG,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-093",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGrignon\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2000\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EL’enquête sociologique, la critique sociale et l’expertise politique\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ERevue Européenne des Sciences Sociales\u003C\u002Fspan\u003E, \u003Cspan class=\"volume\"\u003EXXXVIII\u003C\u002Fspan\u003E \u003Cem class=\"italic\"\u003E-\u003C\u002Fem\u003E\u003Cspan class=\"issue\"\u003E\u003Cem class=\"italic\"\u003E118\u003C\u002Fem\u003E\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E101\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E113\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for L’enquête sociologique, la critique sociale et l’expertise politique' href=https:\u002F\u002Fdx.doi.org\u002F10.4000\u002Fress.695\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for L’enquête sociologique, la critique sociale et l’expertise politique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99enqu%C3%AAte+sociologique%2C+la+critique+sociale+et+l%E2%80%99expertise+politique&author=Grignon+C.&publication+year=2000&journal=Revue+Europ%C3%A9enne+des+Sciences+Sociales&volume=XXXVIII&doi=10.4000%2Fress.695&pages=101-113\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99enqu%C3%AAte+sociologique%2C+la+critique+sociale+et+l%E2%80%99expertise+politique&author=Grignon+C.&publication+year=2000&journal=Revue+Europ%C3%A9enne+des+Sciences+Sociales&volume=XXXVIII&doi=10.4000%2Fress.695&pages=101-113",openUrlParams:{genre:h,atitle:eB,jtitle:eC,title:eC,volume:"XXXVIII",artnum:"67447dca21c8183ee4eb2783",spage:"101",epage:"113",date:_,sid:d,aulast:a,aufirst:a,doi:eD,au:a},innerRefId:"auto_ref-n78aba8236d7efbbe",title:eB,doi:eD,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.4000\u002Fress.695",pubMedLink:a}]},{id:"REFe-r-094",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGuébo\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"year\"\u003E2022\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EArafat DJ: Histoire et légende d’une comète\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Arafat DJ: Histoire et légende d’une comète' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Arafat+DJ%3A+Histoire+et+l%C3%A9gende+d%E2%80%99une+com%C3%A8te&author=Gu%C3%A9bo+J.&publication+year=2022\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Arafat+DJ%3A+Histoire+et+l%C3%A9gende+d%E2%80%99une+com%C3%A8te&author=Gu%C3%A9bo+J.&publication+year=2022",openUrlParams:{genre:f,btitle:bH,title:bH,aulast:a,aufirst:a,au:a,pub:c,date:eE,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nad4fb7aa43e9de61",title:bH,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-095",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EHall\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ES.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EIdentités et cultures: Politique des cultural studies\u003C\u002Fspan\u003E, edited by \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ECervulle\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EMaxime\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Éditions Amsterdam\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Identités et cultures: Politique des cultural studies' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Identit%C3%A9s+et+cultures%3A+Politique+des+cultural+studies&author=Hall+S.&author=Cervulle+Maxime&publication+year=2007\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Identit%C3%A9s+et+cultures%3A+Politique+des+cultural+studies&author=Hall+S.&author=Cervulle+Maxime&publication+year=2007",openUrlParams:{genre:f,btitle:bI,title:bI,aulast:a,aufirst:a,au:a,pub:c,date:l,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n68314af198c9f5a4",title:bI,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-096",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EHampâté Bâ\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EAmkoulel, l’enfant peul\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EBabel\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Amkoulel, l’enfant peul' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Amkoulel%2C+l%E2%80%99enfant+peul&author=Hamp%C3%A2t%C3%A9+B%C3%A2+A.&publication+year=1992\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Amkoulel%2C+l%E2%80%99enfant+peul&author=Hamp%C3%A2t%C3%A9+B%C3%A2+A.&publication+year=1992",openUrlParams:{genre:f,btitle:bJ,title:bJ,aulast:a,aufirst:a,au:a,pub:"Babel",date:m,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nef8db5e8b11e48af",title:bJ,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-097",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EHegel\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG. W. F.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, éd.\u003Cspan class=\"year\"\u003E1964\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EIntroduction à l’esthétique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EParis, Aubier-Montaigne.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Introduction à l’esthétique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Introduction+%C3%A0+l%E2%80%99esth%C3%A9tique&author=Hegel+G.+W.+F.&publication+year=1964\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Introduction+%C3%A0+l%E2%80%99esth%C3%A9tique&author=Hegel+G.+W.+F.&publication+year=1964",openUrlParams:{genre:f,btitle:bK,title:bK,aulast:a,aufirst:a,au:a,pub:"Paris, Aubier-Montaigne.",date:"1964",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n47078e99fe1e6b87",title:bK,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-098",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EHennion\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1981\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELes professionnels du disque: Une sociologie des variétés\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EParis, Métailié.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les professionnels du disque: Une sociologie des variétés' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+professionnels+du+disque%3A+Une+sociologie+des+vari%C3%A9t%C3%A9s&author=Hennion+A.&publication+year=1981\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+professionnels+du+disque%3A+Une+sociologie+des+vari%C3%A9t%C3%A9s&author=Hennion+A.&publication+year=1981",openUrlParams:{genre:f,btitle:bL,title:bL,aulast:a,aufirst:a,au:a,pub:"Paris, Métailié.",date:bl,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nf82c36715fc4fad3",title:bL,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-099",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EHennion\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELatour\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1996\u003C\u002Fspan\u003E, \u003Cspan class=\"article-title\"\u003EL’art, l’aura et la technique selon Benjamin ou comment devenir célèbre en faisant tant d’erreurs à la fois …\u003C\u002Fspan\u003E , \u003Cspan class=\"source\"\u003ECahiers de médiologie\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E1\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E235\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E241\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for L’art, l’aura et la technique selon Benjamin ou comment devenir célèbre en faisant tant d’erreurs à la fois …' href=https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fcdm.001.0235\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for L’art, l’aura et la technique selon Benjamin ou comment devenir célèbre en faisant tant d’erreurs à la fois …' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99art%2C+l%E2%80%99aura+et+la+technique+selon+Benjamin+ou+comment+devenir+c%C3%A9l%C3%A8bre+en+faisant+tant+d%E2%80%99erreurs+%C3%A0+la+fois+%E2%80%A6&author=Hennion+A.&author=Latour+A.&publication+year=1996&journal=Cahiers+de+m%C3%A9diologie&volume=1&doi=10.3917%2Fcdm.001.0235&pages=235-241\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99art%2C+l%E2%80%99aura+et+la+technique+selon+Benjamin+ou+comment+devenir+c%C3%A9l%C3%A8bre+en+faisant+tant+d%E2%80%99erreurs+%C3%A0+la+fois+%E2%80%A6&author=Hennion+A.&author=Latour+A.&publication+year=1996&journal=Cahiers+de+m%C3%A9diologie&volume=1&doi=10.3917%2Fcdm.001.0235&pages=235-241",openUrlParams:{genre:h,atitle:eF,jtitle:eG,title:eG,volume:s,artnum:"67447dca21c8183ee4eb2789",spage:"235",epage:"241",date:"1996",sid:d,aulast:a,aufirst:a,doi:eH,au:a},innerRefId:"auto_ref-n78cad96abca94a6f",title:eF,doi:eH,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fcdm.001.0235",pubMedLink:a}]},{id:"REFe-r-100",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EHerndon\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003ESong\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EFolklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBauman\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ERichard\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EOxford\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EOxford University Press\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E159\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E166\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https:\u002F\u002Fdx.doi.org\u002F10.1093\u002Foso\u002F9780195069198.003.0022\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Folklore%2C+Cultural+Performances%2C+and+Popular+Entertainments%3A+A+Communications-Centered+Handbook&author=Herndon+M.&author=Bauman+Richard&publication+year=1992&pages=159-166\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Folklore%2C+Cultural+Performances%2C+and+Popular+Entertainments%3A+A+Communications-Centered+Handbook&author=Herndon+M.&author=Bauman+Richard&publication+year=1992&pages=159-166",openUrlParams:{genre:i,btitle:n,title:n,atitle:"Song",aulast:a,aufirst:a,au:a,pub:S,date:m,spage:"159",epage:"166",doi:eI,sid:d},innerRefId:"auto_ref-nf74bd0478d5ff4d9",title:n,doi:eI,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1093\u002Foso\u002F9780195069198.003.0022",pubMedLink:a}]},{id:"REFe-r-101",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EHobsbawm\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EE.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2006\u003C\u002Fspan\u003E[2012], ‘\u003Cspan class=\"source\"\u003E\u003Cem class=\"italic\"\u003EIntroduction: Inventing Traditions’,\u003C\u002Fem\u003E The Invention of Tradition\u003C\u002Fspan\u003E, \u003Cspan class=\"edition\"\u003Enew expanded\u003C\u002Fspan\u003E edition, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EHobsbawm\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EÉric\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERanger\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ETerence\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (eds.), \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EÉditions Amsterdam\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E27\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E41\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Introduction: Inventing Traditions’, The Invention of Tradition' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Introduction%3A+Inventing+Traditions%E2%80%99%2C+The+Invention+of+Tradition&author=Hobsbawm+E.&author=Hobsbawm+%C3%89ric&author=Ranger+Terence&publication+year=2006&pages=27-41\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Introduction%3A+Inventing+Traditions%E2%80%99%2C+The+Invention+of+Tradition&author=Hobsbawm+E.&author=Hobsbawm+%C3%89ric&author=Ranger+Terence&publication+year=2006&pages=27-41",openUrlParams:{genre:f,btitle:bM,title:bM,aulast:a,aufirst:a,au:a,pub:"Éditions Amsterdam",date:bN,tpages:dZ,doi:a,sid:d},innerRefId:"auto_ref-n32db098643e47ba8",title:bM,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-102",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKadi\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG.-A.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2021\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa révolte du zouglou en Côte d’Ivoire: 30 ans de revendications (1991–2021)\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La révolte du zouglou en Côte d’Ivoire: 30 ans de revendications (1991–2021)' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+r%C3%A9volte+du+zouglou+en+C%C3%B4te+d%E2%80%99Ivoire%3A+30+ans+de+revendications+(1991%E2%80%932021)&author=Kadi+G.-A.&publication+year=2021\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+r%C3%A9volte+du+zouglou+en+C%C3%B4te+d%E2%80%99Ivoire%3A+30+ans+de+revendications+(1991%E2%80%932021)&author=Kadi+G.-A.&publication+year=2021",openUrlParams:{genre:f,btitle:bO,title:bO,aulast:a,aufirst:a,au:a,pub:c,date:au,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nf84326b8a13f4d84",title:bO,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-103",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKanga\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EK.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EGoran\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EK. M. A.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2017\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EDidactics of music education: De la théorie à la pratique. Tome\u003C\u002Fspan\u003E \u003Cspan class=\"volume\"\u003E1\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Didactics of music education: De la théorie à la pratique. Tome' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Didactics+of+music+education%3A+De+la+th%C3%A9orie+%C3%A0+la+pratique.+Tome&author=Kanga+K.&author=Goran+K.+M.+A.&publication+year=2017\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Didactics+of+music+education%3A+De+la+th%C3%A9orie+%C3%A0+la+pratique.+Tome&author=Kanga+K.&author=Goran+K.+M.+A.&publication+year=2017",openUrlParams:{genre:f,btitle:bP,title:bP,aulast:a,aufirst:a,au:a,pub:c,date:ao,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n8336f506061f60c7",title:bP,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-104",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKebede\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1982\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ERoots of Black Music: The Vocal, Instrumental and Dance Heritage of Africa and Black America\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EEnglewood Cliffs, NJ\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPrentice Hall\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Roots of Black Music: The Vocal, Instrumental and Dance Heritage of Africa and Black America' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Roots+of+Black+Music%3A+The+Vocal%2C+Instrumental+and+Dance+Heritage+of+Africa+and+Black+America&author=Kebede+A.&publication+year=1982\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Roots+of+Black+Music%3A+The+Vocal%2C+Instrumental+and+Dance+Heritage+of+Africa+and+Black+America&author=Kebede+A.&publication+year=1982",openUrlParams:{genre:f,btitle:bQ,title:bQ,aulast:a,aufirst:a,au:a,pub:"Prentice Hall",date:"1982",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nd7906b470745e3e7",title:bQ,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-105",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKipré\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1986\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EVilles de Côte d’Ivoire (1893–1940). Tome 2, Économie et société urbaine\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EAbidjan, NEA\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Villes de Côte d’Ivoire (1893–1940). Tome 2, Économie et société urbaine' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Villes+de+C%C3%B4te+d%E2%80%99Ivoire+(1893%E2%80%931940).+Tome+2%2C+%C3%89conomie+et+soci%C3%A9t%C3%A9+urbaine&author=Kipr%C3%A9+P.&publication+year=1986\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Villes+de+C%C3%B4te+d%E2%80%99Ivoire+(1893%E2%80%931940).+Tome+2%2C+%C3%89conomie+et+soci%C3%A9t%C3%A9+urbaine&author=Kipr%C3%A9+P.&publication+year=1986",openUrlParams:{genre:f,btitle:bR,title:bR,aulast:a,aufirst:a,au:a,pub:c,date:r,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n2f2a7cf0444502df",title:bR,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-106",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKipré\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1985\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EVilles de Côte d’Ivoire (1893–1940). Tome 1, La fondation des villes\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EAbidjan, NEA\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Villes de Côte d’Ivoire (1893–1940). Tome 1, La fondation des villes' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Villes+de+C%C3%B4te+d%E2%80%99Ivoire+(1893%E2%80%931940).+Tome+1%2C+La+fondation+des+villes&author=Kipr%C3%A9+P.&publication+year=1985\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Villes+de+C%C3%B4te+d%E2%80%99Ivoire+(1893%E2%80%931940).+Tome+1%2C+La+fondation+des+villes&author=Kipr%C3%A9+P.&publication+year=1985",openUrlParams:{genre:f,btitle:bS,title:bS,aulast:a,aufirst:a,au:a,pub:c,date:w,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-ne99d135f9d252612",title:bS,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-107",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKipré\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1975\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003ELa place des centres urbains dans l’économie de la Côte d’Ivoire de 1920 à 1930\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EAnnales de l’Université d’Abidjan, Série I (Histoire), Tome\u003C\u002Fspan\u003E \u003Cspan class=\"volume\"\u003E3\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E93\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E120\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La place des centres urbains dans l’économie de la Côte d’Ivoire de 1920 à 1930' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+place+des+centres+urbains+dans+l%E2%80%99%C3%A9conomie+de+la+C%C3%B4te+d%E2%80%99Ivoire+de+1920+%C3%A0+1930&author=Kipr%C3%A9+P.&publication+year=1975&journal=Annales+de+l%E2%80%99Universit%C3%A9+d%E2%80%99Abidjan%2C+S%C3%A9rie+I+(Histoire)%2C+Tome&volume=3&pages=93-120\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+place+des+centres+urbains+dans+l%E2%80%99%C3%A9conomie+de+la+C%C3%B4te+d%E2%80%99Ivoire+de+1920+%C3%A0+1930&author=Kipr%C3%A9+P.&publication+year=1975&journal=Annales+de+l%E2%80%99Universit%C3%A9+d%E2%80%99Abidjan%2C+S%C3%A9rie+I+(Histoire)%2C+Tome&volume=3&pages=93-120",openUrlParams:{genre:h,atitle:eJ,jtitle:eK,title:eK,volume:E,artnum:"67447dca21c8183ee4eb2791",spage:"93",epage:"120",date:dT,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n4117e408da25594a",title:eJ,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-108",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKoffi\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ET.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKipré\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EN’Ko\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EL.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2022\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELe grand livre de la musique ivoirienne, tome 1: Alpha Blondy et la galaxie reggae\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EAbidjan\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EÉditions Éburnie\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le grand livre de la musique ivoirienne, tome 1: Alpha Blondy et la galaxie reggae' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+grand+livre+de+la+musique+ivoirienne%2C+tome+1%3A+Alpha+Blondy+et+la+galaxie+reggae&author=Koffi+T.&author=Kipr%C3%A9+A.&author=N%E2%80%99Ko+L.&publication+year=2022\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+grand+livre+de+la+musique+ivoirienne%2C+tome+1%3A+Alpha+Blondy+et+la+galaxie+reggae&author=Koffi+T.&author=Kipr%C3%A9+A.&author=N%E2%80%99Ko+L.&publication+year=2022",openUrlParams:{genre:f,btitle:bT,title:bT,aulast:a,aufirst:a,au:a,pub:"Éditions Éburnie",date:eE,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n24f4355eb65607c",title:bT,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-109",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKolé\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2023\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ENe cherchez pas à comprendre. Dansez seulement! Le Coupé-Décalé et les jeunes en Côte d’Ivoire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EBamenda, Langaa\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Ne cherchez pas à comprendre. Dansez seulement! Le Coupé-Décalé et les jeunes en Côte d’Ivoire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Ne+cherchez+pas+%C3%A0+comprendre.+Dansez+seulement!+Le+Coup%C3%A9-D%C3%A9cal%C3%A9+et+les+jeunes+en+C%C3%B4te+d%E2%80%99Ivoire&author=Kol%C3%A9+M.&publication+year=2023\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Ne+cherchez+pas+%C3%A0+comprendre.+Dansez+seulement!+Le+Coup%C3%A9-D%C3%A9cal%C3%A9+et+les+jeunes+en+C%C3%B4te+d%E2%80%99Ivoire&author=Kol%C3%A9+M.&publication+year=2023",openUrlParams:{genre:f,btitle:bU,title:bU,aulast:a,aufirst:a,au:a,pub:c,date:"2023",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n4738d26a93042c4",title:bU,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-110",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKonaté\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EY.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2002\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EGénération zouglou\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ECahiers d’études africaines\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E168\u003C\u002Fspan\u003E, No. XLII-4, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EEHESS\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E777\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E796\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Cahiers d’études africaines' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Cahiers+d%E2%80%99%C3%A9tudes+africaines&author=Konat%C3%A9+Y.&publication+year=2002&pages=777-796\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Cahiers+d%E2%80%99%C3%A9tudes+africaines&author=Konat%C3%A9+Y.&publication+year=2002&pages=777-796",openUrlParams:{genre:i,btitle:bV,title:bV,atitle:"Génération zouglou",aulast:a,aufirst:a,au:a,pub:"EHESS",date:G,spage:"777",epage:"796",doi:a,sid:d},innerRefId:"auto_ref-ncee5238c0e106607",title:bV,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-111",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKonaté\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EY.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1987\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EAlpha Blondy: Reggae et société en Afrique noire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EKarthala\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Alpha Blondy: Reggae et société en Afrique noire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Alpha+Blondy%3A+Reggae+et+soci%C3%A9t%C3%A9+en+Afrique+noire&author=Konat%C3%A9+Y.&publication+year=1987\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Alpha+Blondy%3A+Reggae+et+soci%C3%A9t%C3%A9+en+Afrique+noire&author=Konat%C3%A9+Y.&publication+year=1987",openUrlParams:{genre:f,btitle:bW,title:bW,aulast:a,aufirst:a,au:a,pub:z,date:es,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nea3c0386ec9188c3",title:bW,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-112",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKoné\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EB.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2020\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003ELa cantatrice Zélé de Papara, une voix au service de la justice et de l’égalité en pays sénoufo\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EDroits de l’homme en arts, littératures et sciences humaines en Afrique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EAndré Banhouman Kamaté\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EEdilivre\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E45\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E69\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Droits de l’homme en arts, littératures et sciences humaines en Afrique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Droits+de+l%E2%80%99homme+en+arts%2C+litt%C3%A9ratures+et+sciences+humaines+en+Afrique&author=Kon%C3%A9+B.&author=Paris+Edilivre&publication+year=2020&pages=45-69\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Droits+de+l%E2%80%99homme+en+arts%2C+litt%C3%A9ratures+et+sciences+humaines+en+Afrique&author=Kon%C3%A9+B.&author=Paris+Edilivre&publication+year=2020&pages=45-69",openUrlParams:{genre:i,btitle:bX,title:bX,atitle:"La cantatrice Zélé de Papara, une voix au service de la justice et de l’égalité en pays sénoufo",aulast:a,aufirst:a,au:a,pub:c,date:A,spage:ay,epage:"69",doi:a,sid:d},innerRefId:"auto_ref-n41b615362d91a83b",title:bX,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-113",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKoné\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EH.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1989\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa dynamique des médias dans les sociétés en mutations: Le cas de la Côte d’Ivoire\u003C\u002Fspan\u003E, Thèse de Doctorat d’État, 2t, \u003Cspan class=\"publisher-name\"\u003EStrasbourg, Université de Strasbourg.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La dynamique des médias dans les sociétés en mutations: Le cas de la Côte d’Ivoire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+dynamique+des+m%C3%A9dias+dans+les+soci%C3%A9t%C3%A9s+en+mutations%3A+Le+cas+de+la+C%C3%B4te+d%E2%80%99Ivoire&author=Kon%C3%A9+H.&publication+year=1989\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+dynamique+des+m%C3%A9dias+dans+les+soci%C3%A9t%C3%A9s+en+mutations%3A+Le+cas+de+la+C%C3%B4te+d%E2%80%99Ivoire&author=Kon%C3%A9+H.&publication+year=1989",openUrlParams:{genre:f,btitle:bY,title:bY,aulast:a,aufirst:a,au:a,pub:"Strasbourg, Université de Strasbourg.",date:"1989",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nf0370c2cfa065295",title:bY,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-114",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKossonou\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EH.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2020\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa conservation et la transcription des œuvres musicales du service des archives de la documentation générale du BURIDA: Enjeux et perspectives\u003C\u002Fspan\u003E, doctoral thesis in Art and Culture, \u003Cspan class=\"publisher-loc\"\u003EAbidjan\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EINSAAC-IRES-RDEC\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La conservation et la transcription des œuvres musicales du service des archives de la documentation générale du BURIDA: Enjeux et perspectives' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+conservation+et+la+transcription+des+%C5%93uvres+musicales+du+service+des+archives+de+la+documentation+g%C3%A9n%C3%A9rale+du+BURIDA%3A+Enjeux+et+perspectives&author=Kossonou+H.&publication+year=2020\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+conservation+et+la+transcription+des+%C5%93uvres+musicales+du+service+des+archives+de+la+documentation+g%C3%A9n%C3%A9rale+du+BURIDA%3A+Enjeux+et+perspectives&author=Kossonou+H.&publication+year=2020",openUrlParams:{genre:f,btitle:bZ,title:bZ,aulast:a,aufirst:a,au:a,pub:"INSAAC-IRES-RDEC",date:A,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n70ddb7045beca221",title:bZ,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-115",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKouvouama\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2013\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EAnthropologie de la chanson congolaise de variétés: Imaginaire, production du sens\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EBrazzaville – Paris\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPAARI\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Anthropologie de la chanson congolaise de variétés: Imaginaire, production du sens' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Anthropologie+de+la+chanson+congolaise+de+vari%C3%A9t%C3%A9s%3A+Imaginaire%2C+production+du+sens&author=Kouvouama+A.&publication+year=2013\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Anthropologie+de+la+chanson+congolaise+de+vari%C3%A9t%C3%A9s%3A+Imaginaire%2C+production+du+sens&author=Kouvouama+A.&publication+year=2013",openUrlParams:{genre:f,btitle:b_,title:b_,aulast:a,aufirst:a,au:a,pub:"PAARI",date:H,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nc85788b598ecc519",title:b_,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-116",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EKua-Nzambi Toko\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E \u003Cspan class=\"year\"\u003E2018\u003C\u002Fspan\u003E, ‘Musique africaine et répertoire choral’, musicologie.org, \u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.musicologie.org\u002Fpublirem\u002Fmusique%5Fafricaine%5Fet%5Frepertoire%5Fchoral.html\"\u003Ewww.musicologie.org\u002Fpublirem\u002Fmusique_africaine_et_repertoire_choral.html\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Kua-Nzambi Toko, A. 2018, ‘Musique africaine et répertoire choral’, musicologie.org, www.musicologie.org\u002Fpublirem\u002Fmusique_africaine_et_repertoire_choral.html.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Kua-Nzambi+Toko,+A.+2018,+‘Musique+africaine+et+répertoire+choral’,+musicologie.org,+www.musicologie.org\u002Fpublirem\u002Fmusique_africaine_et_repertoire_choral.html.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Kua-Nzambi+Toko,+A.+2018,+‘Musique+africaine+et+répertoire+choral’,+musicologie.org,+www.musicologie.org\u002Fpublirem\u002Fmusique_africaine_et_repertoire_choral.html.",openUrlParams:{genre:k,date:q,sid:d,title:c},innerRefId:"auto_ref-n2fe86266d9ece471",title:"Kua-Nzambi Toko, A. 2018, ‘Musique africaine et répertoire choral’, musicologie.org, www.musicologie.org\u002Fpublirem\u002Fmusique_africaine_et_repertoire_choral.html.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-117",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELaffanour\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, éd., \u003Cspan class=\"year\"\u003E2003\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ETerritoires de musiques et cultures urbaines: Rock, rap, techno… l’émergence de la création musicale à l’heure de la mondialisation\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EParis, L’Harmattan.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Territoires de musiques et cultures urbaines: Rock, rap, techno… l’émergence de la création musicale à l’heure de la mondialisation' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Territoires+de+musiques+et+cultures+urbaines%3A+Rock%2C+rap%2C+techno%E2%80%A6+l%E2%80%99%C3%A9mergence+de+la+cr%C3%A9ation+musicale+%C3%A0+l%E2%80%99heure+de+la+mondialisation&author=Laffanour+A.&publication+year=2003\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Territoires+de+musiques+et+cultures+urbaines%3A+Rock%2C+rap%2C+techno%E2%80%A6+l%E2%80%99%C3%A9mergence+de+la+cr%C3%A9ation+musicale+%C3%A0+l%E2%80%99heure+de+la+mondialisation&author=Laffanour+A.&publication+year=2003",openUrlParams:{genre:f,btitle:b$,title:b$,aulast:a,aufirst:a,au:a,pub:"Paris, L’Harmattan.",date:M,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n672919e84ea7a386",title:b$,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-118",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELamizet\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EB.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2002\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELe sens de la ville\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le sens de la ville' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+sens+de+la+ville&author=Lamizet+B.&publication+year=2002\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+sens+de+la+ville&author=Lamizet+B.&publication+year=2002",openUrlParams:{genre:f,btitle:ca,title:ca,aulast:a,aufirst:a,au:a,pub:c,date:G,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n183780c1af8c32d2",title:ca,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-119",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELatour\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EB.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EChanger la société, refaire de la sociologie\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ELa Découverte\u002FPoche.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Changer la société, refaire de la sociologie' href=https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fdec.latour.2007.01\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Changer la société, refaire de la sociologie' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Changer+la+soci%C3%A9t%C3%A9%2C+refaire+de+la+sociologie&author=Latour+B.&publication+year=2007\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Changer+la+soci%C3%A9t%C3%A9%2C+refaire+de+la+sociologie&author=Latour+B.&publication+year=2007",openUrlParams:{genre:f,btitle:cb,title:cb,aulast:a,aufirst:a,au:a,pub:"La Découverte\u002FPoche.",date:l,tpages:c,doi:eL,sid:d},innerRefId:"auto_ref-na2b9572f076c5615",title:cb,doi:eL,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fdec.latour.2007.01",pubMedLink:a}]},{id:"REFe-r-120",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELand\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EMitchell F.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1995\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EReggae, resistance and the State: Television and popular music in Côte d’Ivoire\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ECritical Studies in Mass Communication\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E12\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E4\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E438\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E454\u003C\u002Fspan\u003E [online 18 May 2009]. \u003Ca class=\"uri\" href=\"https:\u002F\u002Fdoi.org\u002F10.1080\u002F15295039509366950\"\u003Ehttps:\u002F\u002Fdoi.org\u002F10.1080\u002F15295039509366950\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Reggae, resistance and the State: Television and popular music in Côte d’Ivoire' href=https:\u002F\u002Fdx.doi.org\u002F10.1080\u002F15295039509366950\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Reggae, resistance and the State: Television and popular music in Côte d’Ivoire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Reggae%2C+resistance+and+the+State%3A+Television+and+popular+music+in+C%C3%B4te+d%E2%80%99Ivoire&author=Land+Mitchell+F.&publication+year=1995&journal=Critical+Studies+in+Mass+Communication&volume=12&doi=10.1080%2F15295039509366950&pages=438-454\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Reggae%2C+resistance+and+the+State%3A+Television+and+popular+music+in+C%C3%B4te+d%E2%80%99Ivoire&author=Land+Mitchell+F.&publication+year=1995&journal=Critical+Studies+in+Mass+Communication&volume=12&doi=10.1080%2F15295039509366950&pages=438-454",openUrlParams:{genre:h,atitle:eM,jtitle:eN,title:eN,volume:as,artnum:"67447dca21c8183ee4eb279e",spage:"438",epage:"454",date:dU,sid:d,aulast:a,aufirst:a,doi:eO,au:a},innerRefId:"auto_ref-nf0563d6a4c72a546",title:eM,doi:eO,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1080\u002F15295039509366950",pubMedLink:a}]},{id:"REFe-r-121",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELand\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EMitchell\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EIvoirian television, willing vector of cultural imperialism\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EHoward Journal of Communications\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E4\u003C\u002Fspan\u003E, Nos. 1–\u003Cspan class=\"issue\"\u003E2\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E10\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E27\u003C\u002Fspan\u003E [online 27 February 2009]. DOI: \u003Ca class=\"uri\" href=\"https:\u002F\u002Fdoi.org\u002F10.1080\u002F10646179209359762\"\u003Ehttps:\u002F\u002Fdoi.org\u002F10.1080\u002F10646179209359762\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Ivoirian television, willing vector of cultural imperialism' href=https:\u002F\u002Fdx.doi.org\u002F10.1080\u002F10646179209359762\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Ivoirian television, willing vector of cultural imperialism' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Ivoirian+television%2C+willing+vector+of+cultural+imperialism&author=Land+Mitchell&publication+year=1992&journal=Howard+Journal+of+Communications&volume=4&doi=10.1080%2F10646179209359762&pages=10-27\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Ivoirian+television%2C+willing+vector+of+cultural+imperialism&author=Land+Mitchell&publication+year=1992&journal=Howard+Journal+of+Communications&volume=4&doi=10.1080%2F10646179209359762&pages=10-27",openUrlParams:{genre:h,atitle:eP,jtitle:eQ,title:eQ,volume:R,artnum:"67447dca21c8183ee4eb279f",spage:"10",epage:Y,date:m,sid:d,aulast:a,aufirst:a,doi:eR,au:a},innerRefId:"auto_ref-n250a08d122ed9809",title:eP,doi:eR,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1080\u002F10646179209359762",pubMedLink:a}]},{id:"REFe-r-122",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELaye\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1978\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELe maître de la parole: Kouma lafôlô kouma\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EParis, Plon.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le maître de la parole: Kouma lafôlô kouma' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+ma%C3%AEtre+de+la+parole%3A+Kouma+laf%C3%B4l%C3%B4+kouma&author=Laye+C.&publication+year=1978\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+ma%C3%AEtre+de+la+parole%3A+Kouma+laf%C3%B4l%C3%B4+kouma&author=Laye+C.&publication+year=1978",openUrlParams:{genre:f,btitle:cc,title:cc,aulast:a,aufirst:a,au:a,pub:"Paris, Plon.",date:"1978",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n273d5aa3e0877a91",title:cc,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-123",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELe Pape\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1997\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EL’énergie sociale à Abidjan: Économie politique de la ville en Afrique noire, 1930–1995\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EKarthala\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for L’énergie sociale à Abidjan: Économie politique de la ville en Afrique noire, 1930–1995' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99%C3%A9nergie+sociale+%C3%A0+Abidjan%3A+%C3%89conomie+politique+de+la+ville+en+Afrique+noire%2C+1930%E2%80%931995&author=Le+Pape+M.&publication+year=1997\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99%C3%A9nergie+sociale+%C3%A0+Abidjan%3A+%C3%89conomie+politique+de+la+ville+en+Afrique+noire%2C+1930%E2%80%931995&author=Le+Pape+M.&publication+year=1997",openUrlParams:{genre:f,btitle:cd,title:cd,aulast:a,aufirst:a,au:a,pub:z,date:L,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-na7dbfd9b406dca2d",title:cd,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-124",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELeimdorfer\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EF.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2006\u003C\u002Fspan\u003E, ‘“\u003Cspan class=\"article-title\"\u003ETu sais, on est en Afrique”: Essai d’analyse de séquences discursives orales\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ESemen\u003C\u002Fspan\u003E \u003Cspan class=\"volume\"\u003E21\u003C\u002Fspan\u003E [online 28 April 2007], accessed 9 January 2021. \u003Ca class=\"uri\" href=\"http:\u002F\u002Fjournals.openedition.org\u002Fsemen\u002F1948\"\u003Ehttp:\u002F\u002Fjournals.openedition.org\u002Fsemen\u002F1948\u003C\u002Fa\u003E; DOI: \u003Ca class=\"uri\" href=\"https:\u002F\u002Fdoi.org\u002F10.4000\u002Fsemen.1948\"\u003Ehttps:\u002F\u002Fdoi.org\u002F10.4000\u002Fsemen.1948\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Tu sais, on est en Afrique”: Essai d’analyse de séquences discursives orales' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Tu+sais%2C+on+est+en+Afrique%E2%80%9D%3A+Essai+d%E2%80%99analyse+de+s%C3%A9quences+discursives+orales&author=Leimdorfer+F.&publication+year=2006&journal=Semen&volume=21\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Tu+sais%2C+on+est+en+Afrique%E2%80%9D%3A+Essai+d%E2%80%99analyse+de+s%C3%A9quences+discursives+orales&author=Leimdorfer+F.&publication+year=2006&journal=Semen&volume=21",openUrlParams:{genre:h,atitle:eS,jtitle:eT,title:eT,volume:eU,artnum:"67447dca21c8183ee4eb27a2",spage:c,epage:c,date:bN,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n3f5dd734816ded05",title:eS,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-125",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELévi-Strauss\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1962\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EAnthropologie structurale 2\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Plon\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Anthropologie structurale 2' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Anthropologie+structurale+2&author=L%C3%A9vi-Strauss+C.&publication+year=1962\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Anthropologie+structurale+2&author=L%C3%A9vi-Strauss+C.&publication+year=1962",openUrlParams:{genre:f,btitle:ce,title:ce,aulast:a,aufirst:a,au:a,pub:c,date:do0,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n443f45758fd26c25",title:ce,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-126",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELévi-Strauss\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1958\u003C\u002Fspan\u003E[1974] \u003Cspan class=\"source\"\u003E, Anthropologie structurale\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Plon\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for , Anthropologie structurale' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=%2C+Anthropologie+structurale&author=L%C3%A9vi-Strauss+C.&publication+year=1958\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=%2C+Anthropologie+structurale&author=L%C3%A9vi-Strauss+C.&publication+year=1958",openUrlParams:{genre:f,btitle:cf,title:cf,aulast:a,aufirst:a,au:a,pub:c,date:eV,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nea21bdce4b38378",title:cf,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-127",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELyotard\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.-F.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1979\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa condition postmoderne\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EMinuit\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La condition postmoderne' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+condition+postmoderne&author=Lyotard+J.-F.&publication+year=1979\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+condition+postmoderne&author=Lyotard+J.-F.&publication+year=1979",openUrlParams:{genre:f,btitle:cg,title:cg,aulast:a,aufirst:a,au:a,pub:aU,date:"1979",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nc915ae3a3d93a6bb",title:cg,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-128",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMacamo\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EE.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2005\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EIntroduction. Negotiating modernity: From colonialism to globalization\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003ENegotiating Modernity: Africa’s Ambivalent Experience\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMacamo\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EElisio Salvado\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EDakar-London, Codesria-Z Books\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E1\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E16\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Negotiating Modernity: Africa’s Ambivalent Experience' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Negotiating+Modernity%3A+Africa%E2%80%99s+Ambivalent+Experience&author=Macamo+E.&author=Macamo+Elisio+Salvado&publication+year=2005&pages=1-16\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Negotiating+Modernity%3A+Africa%E2%80%99s+Ambivalent+Experience&author=Macamo+E.&author=Macamo+Elisio+Salvado&publication+year=2005&pages=1-16",openUrlParams:{genre:i,btitle:ch,title:ch,atitle:"Introduction. Negotiating modernity: From colonialism to globalization",aulast:a,aufirst:a,au:a,pub:c,date:t,spage:s,epage:"16",doi:a,sid:d},innerRefId:"auto_ref-n20af83eb7a93d993",title:ch,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-129",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMaffesoli\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1988\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELe temps des tribus: Le déclin de l’individualisme dans les sociétés de masse\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ELe Livre de Poche\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le temps des tribus: Le déclin de l’individualisme dans les sociétés de masse' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+temps+des+tribus%3A+Le+d%C3%A9clin+de+l%E2%80%99individualisme+dans+les+soci%C3%A9t%C3%A9s+de+masse&author=Maffesoli+M.&publication+year=1988\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+temps+des+tribus%3A+Le+d%C3%A9clin+de+l%E2%80%99individualisme+dans+les+soci%C3%A9t%C3%A9s+de+masse&author=Maffesoli+M.&publication+year=1988",openUrlParams:{genre:f,btitle:ci,title:ci,aulast:a,aufirst:a,au:a,pub:dG,date:K,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-ndf28bac04b38404d",title:ci,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-130",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMartin\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ED.-C.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2012\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EThe Musical Heritage of Slavery: From Creolization to “World Music\u003C\u002Fspan\u003E”’, \u003Cspan class=\"source\"\u003EMusic and Globalization: Critical Encounters\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBob\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EW. White\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), Bloomington, \u003Cspan class=\"publisher-name\"\u003EIndiana University Press\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E17\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E39\u003C\u002Fspan\u003E, accessed 29 October 2020, \u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.jstor.org\u002Fstable\u002Fj.ctt16gzm34.5\"\u003Ewww.jstor.org\u002Fstable\u002Fj.ctt16gzm34.5\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Music and Globalization: Critical Encounters' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Music+and+Globalization%3A+Critical+Encounters&author=Martin+D.-C.&author=Bob+W.+White&publication+year=2012&pages=17-39\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Music+and+Globalization%3A+Critical+Encounters&author=Martin+D.-C.&author=Bob+W.+White&publication+year=2012&pages=17-39",openUrlParams:{genre:i,btitle:cj,title:cj,atitle:"The Musical Heritage of Slavery: From Creolization to “World Music",aulast:a,aufirst:a,au:a,pub:eW,date:bt,spage:ai,epage:aG,doi:a,sid:d},innerRefId:"auto_ref-n36a28c71883863a5",title:cj,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-131",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMasselis\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2016\u003C\u002Fspan\u003E, ‘Platon, ou la musique au cœur d’un projet politique’, [online] \u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.francemusique.fr\u002Factualite-musicale\u002Fplaton-ou-la-musique-au-coeur-d-un-projet-politique-277\"\u003Ewww.francemusique.fr\u002Factualite-musicale\u002Fplaton-ou-la-musique-au-coeur-d-un-projet-politique-277\u003C\u002Fa\u003E, accessed 28 February \u003Cspan class=\"year\"\u003E2020\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Masselis, J., 2016, ‘Platon, ou la musique au cœur d’un projet politique’, [online] www.francemusique.fr\u002Factualite-musicale\u002Fplaton-ou-la-musique-au-coeur-d-un-projet-politique-277, accessed 28 February 2020.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Masselis,+J.,+2016,+‘Platon,+ou+la+musique+au+cœur+d’un+projet+politique’,+[online]+www.francemusique.fr\u002Factualite-musicale\u002Fplaton-ou-la-musique-au-coeur-d-un-projet-politique-277,+accessed+28+February+2020.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Masselis,+J.,+2016,+‘Platon,+ou+la+musique+au+cœur+d’un+projet+politique’,+[online]+www.francemusique.fr\u002Factualite-musicale\u002Fplaton-ou-la-musique-au-coeur-d-un-projet-politique-277,+accessed+28+February+2020.",openUrlParams:{genre:k,date:F,sid:d,title:c},innerRefId:"auto_ref-nbb9ff12646f9ba3b",title:"Masselis, J., 2016, ‘Platon, ou la musique au cœur d’un projet politique’, [online] www.francemusique.fr\u002Factualite-musicale\u002Fplaton-ou-la-musique-au-coeur-d-un-projet-politique-277, accessed 28 February 2020.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-132",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMassoumou\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EO.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EQueffélec\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA. J.-M.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELe français en république démocratique du Congo: Sous l’ère multipartiste (1991–2006)\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EÉditions des archives contemporaines\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le français en république démocratique du Congo: Sous l’ère multipartiste (1991–2006)' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+fran%C3%A7ais+en+r%C3%A9publique+d%C3%A9mocratique+du+Congo%3A+Sous+l%E2%80%99%C3%A8re+multipartiste+(1991%E2%80%932006)&author=Massoumou+O.&author=Queff%C3%A9lec+A.+J.-M.&publication+year=2007\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+fran%C3%A7ais+en+r%C3%A9publique+d%C3%A9mocratique+du+Congo%3A+Sous+l%E2%80%99%C3%A8re+multipartiste+(1991%E2%80%932006)&author=Massoumou+O.&author=Queff%C3%A9lec+A.+J.-M.&publication+year=2007",openUrlParams:{genre:f,btitle:ck,title:ck,aulast:a,aufirst:a,au:a,pub:"Éditions des archives contemporaines",date:l,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n8fefb3f397d36565",title:ck,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-133",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMauss\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1925\u003C\u002Fspan\u003E[2012]\u003Cspan class=\"chapter-title\"\u003E, \u003Cem class=\"italic\"\u003EEssai sur le don:\u003C\u002Fem\u003E\u003C\u002Fspan\u003E \u003Cspan class=\"source\"\u003EForm and Reason of Exchange in Archaic Societies\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPUF, Quadrige\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Form and Reason of Exchange in Archaic Societies' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Form+and+Reason+of+Exchange+in+Archaic+Societies&author=Mauss+M.&publication+year=1925\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Form+and+Reason+of+Exchange+in+Archaic+Societies&author=Mauss+M.&publication+year=1925",openUrlParams:{genre:i,btitle:cl,title:cl,atitle:", Essai sur le don:",aulast:a,aufirst:a,au:a,pub:"PUF, Quadrige",date:"1925",spage:c,epage:c,doi:a,sid:d},innerRefId:"auto_ref-nd449213c9439e405",title:cl,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-134",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMazzoleni\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EF.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2010\u003C\u002Fspan\u003E, ‘Les musiques des indépendances africaines’, \u003Cem class=\"italic\"\u003EAfricultures\u003C\u002Fem\u003E [Online], \u003Ca class=\"uri\" href=\"http:\u002F\u002Fafricultures.com\u002Fles-musiques-des-independances-africaines-9859\u002F09.08.2018\"\u003Ehttp:\u002F\u002Fafricultures.com\u002Fles-musiques-des-independances-africaines-9859\u002F09.08.2018\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Mazzoleni, F., 2010, ‘Les musiques des indépendances africaines’, Africultures [Online], http:\u002F\u002Fafricultures.com\u002Fles-musiques-des-independances-africaines-9859\u002F09.08.2018.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Mazzoleni,+F.,+2010,+‘Les+musiques+des+indépendances+africaines’,+Africultures+[Online],+http:\u002F\u002Fafricultures.com\u002Fles-musiques-des-independances-africaines-9859\u002F09.08.2018.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Mazzoleni,+F.,+2010,+‘Les+musiques+des+indépendances+africaines’,+Africultures+[Online],+http:\u002F\u002Fafricultures.com\u002Fles-musiques-des-independances-africaines-9859\u002F09.08.2018.",openUrlParams:{genre:k,date:u,sid:d,title:c},innerRefId:"auto_ref-n95e2bf99a5790f37",title:"Mazzoleni, F., 2010, ‘Les musiques des indépendances africaines’, Africultures [Online], http:\u002F\u002Fafricultures.com\u002Fles-musiques-des-independances-africaines-9859\u002F09.08.2018.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-135",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMbembe\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ. A.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1985\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELes jeunes et l’ordre politique en Afrique noire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les jeunes et l’ordre politique en Afrique noire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+jeunes+et+l%E2%80%99ordre+politique+en+Afrique+noire&author=Mbembe+J.+A.&publication+year=1985\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+jeunes+et+l%E2%80%99ordre+politique+en+Afrique+noire&author=Mbembe+J.+A.&publication+year=1985",openUrlParams:{genre:f,btitle:cm,title:cm,aulast:a,aufirst:a,au:a,pub:c,date:w,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-na39e65c4ea4f9a78",title:cm,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-136",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMemel-Fotê\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EH.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1991\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EDes ancêtre fondateurs aux Pères de la nation: Introduction à une anthropologie de la démocratie\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003E\u003Cem class=\"italic\"\u003EXIIIe conférence March Bloch\u003C\u002Fem\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EEcole des Hautes Etudes en Sciences Sociales\u003C\u002Fspan\u003E, 18 June \u003Cspan class=\"year\"\u003E1991\u003C\u002Fspan\u003E; \u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.ehess.fr\u002Fsites\u002Fdefault\u002Ffiles\u002Fpagedebase\u002Ffichiers\u002Fharris%5Fmemel-fote.pdf\"\u003Ewww.ehess.fr\u002Fsites\u002Fdefault\u002Ffiles\u002Fpagedebase\u002Ffichiers\u002Fharris_memel-fote.pdf\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for XIIIe conférence March Bloch' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=XIIIe+conf%C3%A9rence+March+Bloch&author=Memel-Fot%C3%AA+H.&publication+year=1991\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=XIIIe+conf%C3%A9rence+March+Bloch&author=Memel-Fot%C3%AA+H.&publication+year=1991",openUrlParams:{genre:i,btitle:cn,title:cn,atitle:"Des ancêtre fondateurs aux Pères de la nation: Introduction à une anthropologie de la démocratie",aulast:a,aufirst:a,au:a,pub:"Ecole des Hautes Etudes en Sciences Sociales",date:Z,spage:c,epage:c,doi:a,sid:d},innerRefId:"auto_ref-n6e013822432fb1bb",title:cn,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-137",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMeyer\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1997\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EQu’est-ce que la philosophie\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ELivre de poche\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Qu’est-ce que la philosophie' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Qu%E2%80%99est-ce+que+la+philosophie&author=Meyer+M.&publication+year=1997\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Qu%E2%80%99est-ce+que+la+philosophie&author=Meyer+M.&publication+year=1997",openUrlParams:{genre:f,btitle:co,title:co,aulast:a,aufirst:a,au:a,pub:"Livre de poche",date:L,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n8958183b21afc067",title:co,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-138",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMeyran\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ER.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2014\u003C\u002Fspan\u003E, ‘Les musiques urbaines, ou la subversion des codes esthétiques occidentaux’, \u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.espacestemps.net\u002Farticles\u002Fles-musiques-urbaines-ou-la-subversion-des-codes-esthetiques-occidentaux\u002F\"\u003Ewww.espacestemps.net\u002Farticles\u002Fles-musiques-urbaines-ou-la-subversion-des-codes-esthetiques-occidentaux\u002F\u003C\u002Fa\u003E, accessed 9 March 2019.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Meyran, R., 2014, ‘Les musiques urbaines, ou la subversion des codes esthétiques occidentaux’, www.espacestemps.net\u002Farticles\u002Fles-musiques-urbaines-ou-la-subversion-des-codes-esthetiques-occidentaux\u002F, accessed 9 March 2019.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Meyran,+R.,+2014,+‘Les+musiques+urbaines,+ou+la+subversion+des+codes+esthétiques+occidentaux’,+www.espacestemps.net\u002Farticles\u002Fles-musiques-urbaines-ou-la-subversion-des-codes-esthetiques-occidentaux\u002F,+accessed+9+March+2019.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Meyran,+R.,+2014,+‘Les+musiques+urbaines,+ou+la+subversion+des+codes+esthétiques+occidentaux’,+www.espacestemps.net\u002Farticles\u002Fles-musiques-urbaines-ou-la-subversion-des-codes-esthetiques-occidentaux\u002F,+accessed+9+March+2019.",openUrlParams:{genre:k,date:aI,sid:d,title:c},innerRefId:"auto_ref-nbde1303e56cfef74",title:"Meyran, R., 2014, ‘Les musiques urbaines, ou la subversion des codes esthétiques occidentaux’, www.espacestemps.net\u002Farticles\u002Fles-musiques-urbaines-ou-la-subversion-des-codes-esthetiques-occidentaux\u002F, accessed 9 March 2019.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-139",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMignon\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ. M.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1984\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EAfrique: Jeunesses uniques, jeunesse encadrée\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Afrique: Jeunesses uniques, jeunesse encadrée' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Afrique%3A+Jeunesses+uniques%2C+jeunesse+encadr%C3%A9e&author=Mignon+J.+M.&publication+year=1984\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Afrique%3A+Jeunesses+uniques%2C+jeunesse+encadr%C3%A9e&author=Mignon+J.+M.&publication+year=1984",openUrlParams:{genre:f,btitle:cp,title:cp,aulast:a,aufirst:a,au:a,pub:c,date:U,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nf522afa1bfbaaa99",title:cp,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-140",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMkandawire\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ET.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2005\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"source\"\u003E\u003Cem class=\"italic\"\u003EIntroduction’,\u003C\u002Fem\u003E African Intellectuals: Rethinking Politics, Language, Gender and Development\u003C\u002Fspan\u003E. \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMkandawire\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EThandika\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), pp. \u003Cspan class=\"fpage\"\u003E1\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E9\u003C\u002Fspan\u003E \u003Cspan class=\"publisher-loc\"\u003EDakar\u003C\u002Fspan\u003E: \u003Cspan class=\"publisher-name\"\u003ECODESRIA\u002FZed Books\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Introduction’, African Intellectuals: Rethinking Politics, Language, Gender and Development' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Introduction%E2%80%99%2C+African+Intellectuals%3A+Rethinking+Politics%2C+Language%2C+Gender+and+Development&author=Mkandawire+T.&author=Mkandawire+Thandika&publication+year=2005&pages=1-9\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Introduction%E2%80%99%2C+African+Intellectuals%3A+Rethinking+Politics%2C+Language%2C+Gender+and+Development&author=Mkandawire+T.&author=Mkandawire+Thandika&publication+year=2005&pages=1-9",openUrlParams:{genre:f,btitle:cq,title:cq,aulast:a,aufirst:a,au:a,pub:"CODESRIA\u002FZed Books",date:t,tpages:Q,doi:a,sid:d},innerRefId:"auto_ref-nbf94420f149ac1dc",title:cq,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-141",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMoessinger\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2000\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELe jeu de l’identité\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPresses universitaires de France\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le jeu de l’identité' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+jeu+de+l%E2%80%99identit%C3%A9&author=Moessinger+P.&publication+year=2000\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+jeu+de+l%E2%80%99identit%C3%A9&author=Moessinger+P.&publication+year=2000",openUrlParams:{genre:f,btitle:cr,title:cr,aulast:a,aufirst:a,au:a,pub:"Presses universitaires de France",date:_,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nfb25b84fcd2f74ab",title:cr,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-142",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMolino\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2009\u003C\u002Fspan\u003E. \u003Cspan class=\"source\"\u003ELe Singe Musicien: Sémiologie et anthropologie de la musique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EActes Sud\u002FINA\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le Singe Musicien: Sémiologie et anthropologie de la musique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+Singe+Musicien%3A+S%C3%A9miologie+et+anthropologie+de+la+musique&author=Molino+J.&publication+year=2009\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+Singe+Musicien%3A+S%C3%A9miologie+et+anthropologie+de+la+musique&author=Molino+J.&publication+year=2009",openUrlParams:{genre:f,btitle:B,title:B,aulast:a,aufirst:a,au:a,pub:eX,date:y,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n52bf8dff0a209783",title:B,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-143",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMoreau de Bellaing\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EL.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1990\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ESociologie de l’autorité\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Sociologie de l’autorité' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Sociologie+de+l%E2%80%99autorit%C3%A9&author=Moreau+de+Bellaing+L.&publication+year=1990\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Sociologie+de+l%E2%80%99autorit%C3%A9&author=Moreau+de+Bellaing+L.&publication+year=1990",openUrlParams:{genre:f,btitle:cs,title:cs,aulast:a,aufirst:a,au:a,pub:c,date:ct,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-naa3066a84b20b6fb",title:cs,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-144",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMouchtouris\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ESociologie de la culture populaire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Sociologie de la culture populaire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Sociologie+de+la+culture+populaire&author=Mouchtouris+A.&publication+year=2007\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Sociologie+de+la+culture+populaire&author=Mouchtouris+A.&publication+year=2007",openUrlParams:{genre:f,btitle:cu,title:cu,aulast:a,aufirst:a,au:a,pub:c,date:l,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n2ade0981a8150637",title:cu,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-145",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMurray Schafer\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ER.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, 1979[\u003Cspan class=\"year\"\u003E2010\u003C\u002Fspan\u003E]\u003Cspan class=\"source\"\u003E, The soundscape: Le monde comme musique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EWildproject\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for , The soundscape: Le monde comme musique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=%2C+The+soundscape%3A+Le+monde+comme+musique&author=Murray+Schafer+R.&publication+year=2010\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=%2C+The+soundscape%3A+Le+monde+comme+musique&author=Murray+Schafer+R.&publication+year=2010",openUrlParams:{genre:f,btitle:cv,title:cv,aulast:a,aufirst:a,au:a,pub:"Wildproject",date:u,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nf541dcef01f53d4a",title:cv,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-146",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ENattiez\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.-J.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2009\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EIntroduction à l’œuvre musicologique de Jean Molino\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003ELe Singe Musicien: Sémiologie et anthropologie de la musique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EActes Sud\u002FINA\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E13\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E70\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le Singe Musicien: Sémiologie et anthropologie de la musique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+Singe+Musicien%3A+S%C3%A9miologie+et+anthropologie+de+la+musique&author=Nattiez+J.-J.&publication+year=2009&pages=13-70\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+Singe+Musicien%3A+S%C3%A9miologie+et+anthropologie+de+la+musique&author=Nattiez+J.-J.&publication+year=2009&pages=13-70",openUrlParams:{genre:i,btitle:B,title:B,atitle:"Introduction à l’œuvre musicologique de Jean Molino",aulast:a,aufirst:a,au:a,pub:eX,date:y,spage:bD,epage:eY,doi:a,sid:d},innerRefId:"auto_ref-n4cdbb1984ef55ca2",title:B,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-147",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EN’Da\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1999\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELe drame démocratique africain sur scène en Côte d’Ivoire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le drame démocratique africain sur scène en Côte d’Ivoire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+drame+d%C3%A9mocratique+africain+sur+sc%C3%A8ne+en+C%C3%B4te+d%E2%80%99Ivoire&author=N%E2%80%99Da+P.&publication+year=1999\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+drame+d%C3%A9mocratique+africain+sur+sc%C3%A8ne+en+C%C3%B4te+d%E2%80%99Ivoire&author=N%E2%80%99Da+P.&publication+year=1999",openUrlParams:{genre:f,btitle:cw,title:cw,aulast:a,aufirst:a,au:a,pub:c,date:v,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-ndb02534f47556349",title:cw,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-148",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ENganguè\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EE.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2009\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa musique dans le débat politique et identitaire en Côte d’Ivoire: Le cas du zouglou\u003C\u002Fspan\u003E, PhD thesis, \u003Cspan class=\"publisher-loc\"\u003EParis, École des Hautes Études en Sciences Sociales\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La musique dans le débat politique et identitaire en Côte d’Ivoire: Le cas du zouglou' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+musique+dans+le+d%C3%A9bat+politique+et+identitaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Le+cas+du+zouglou&author=Ngangu%C3%A8+E.&publication+year=2009\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+musique+dans+le+d%C3%A9bat+politique+et+identitaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Le+cas+du+zouglou&author=Ngangu%C3%A8+E.&publication+year=2009",openUrlParams:{genre:f,btitle:cx,title:cx,aulast:a,aufirst:a,au:a,pub:c,date:y,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n65f5e1969c36868c",title:cx,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-149",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ENgoran\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EE. Y.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2013\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa rumba congolaise: Sa splendeur, ses effluves, ses profondeurs\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EAbidjan, l’Encre Bleue.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La rumba congolaise: Sa splendeur, ses effluves, ses profondeurs' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+rumba+congolaise%3A+Sa+splendeur%2C+ses+effluves%2C+ses+profondeurs&author=Ngoran+E.+Y.&publication+year=2013\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+rumba+congolaise%3A+Sa+splendeur%2C+ses+effluves%2C+ses+profondeurs&author=Ngoran+E.+Y.&publication+year=2013",openUrlParams:{genre:f,btitle:cy,title:cy,aulast:a,aufirst:a,au:a,pub:c,date:H,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n2078b4fdf516bdcf",title:cy,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-150",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ENiane\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ED. T.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1960\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ESoundjata ou l’épopée mandingue\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Présence africaine.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Soundjata ou l’épopée mandingue' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Soundjata+ou+l%E2%80%99%C3%A9pop%C3%A9e+mandingue&author=Niane+D.+T.&publication+year=1960\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Soundjata+ou+l%E2%80%99%C3%A9pop%C3%A9e+mandingue&author=Niane+D.+T.&publication+year=1960",openUrlParams:{genre:f,btitle:cz,title:cz,aulast:a,aufirst:a,au:a,pub:c,date:"1960",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-na1055fd552fb0d1b",title:cz,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-151",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ENyamnjoh\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EF. B.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2020\u003C\u002Fspan\u003E, ‘Manu Dibango: Afropolitan musical genius with a giant heart’, \u003Ca class=\"uri\" href=\"https:\u002F\u002Ftheconversation.com\u002Fmanu-dibango-afropolitan-musical-genius-with-a-giant-heart-134679\"\u003Ehttps:\u002F\u002Ftheconversation.com\u002Fmanu-dibango-afropolitan-musical-genius-with-a-giant-heart-134679\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Nyamnjoh, F. B., 2020, ‘Manu Dibango: Afropolitan musical genius with a giant heart’, https:\u002F\u002Ftheconversation.com\u002Fmanu-dibango-afropolitan-musical-genius-with-a-giant-heart-134679.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Nyamnjoh,+F.+B.,+2020,+‘Manu+Dibango:+Afropolitan+musical+genius+with+a+giant+heart’,+https:\u002F\u002Ftheconversation.com\u002Fmanu-dibango-afropolitan-musical-genius-with-a-giant-heart-134679.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Nyamnjoh,+F.+B.,+2020,+‘Manu+Dibango:+Afropolitan+musical+genius+with+a+giant+heart’,+https:\u002F\u002Ftheconversation.com\u002Fmanu-dibango-afropolitan-musical-genius-with-a-giant-heart-134679.",openUrlParams:{genre:k,date:A,sid:d,title:c},innerRefId:"auto_ref-n2223c6ceb3a19c57",title:"Nyamnjoh, F. B., 2020, ‘Manu Dibango: Afropolitan musical genius with a giant heart’, https:\u002F\u002Ftheconversation.com\u002Fmanu-dibango-afropolitan-musical-genius-with-a-giant-heart-134679.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-152",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ENyamnjoh\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EF. B.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2019\u003C\u002Fspan\u003E, ‘ICTs as Juju: African inspiration for understanding the compositeness of being human through digital technologies’, \u003Cspan class=\"source\"\u003EJournal of African Media Studies\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E11\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E3\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E279\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E291\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Nyamnjoh, F. B., 2019, ‘ICTs as Juju: African inspiration for understanding the compositeness of being human through digital technologies’, Journal of African Media Studies, Vol. 11, No. 3, pp. 279–291.' href=https:\u002F\u002Fdx.doi.org\u002F10.1386\u002Fjams_00001_1\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Nyamnjoh, F. B., 2019, ‘ICTs as Juju: African inspiration for understanding the compositeness of being human through digital technologies’, Journal of African Media Studies, Vol. 11, No. 3, pp. 279–291.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Nyamnjoh,+F.+B.,+2019,+‘ICTs+as+Juju:+African+inspiration+for+understanding+the+compositeness+of+being+human+through+digital+technologies’,+Journal+of+African+Media+Studies,+Vol.+11,+No.+3,+pp.+279–291.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Nyamnjoh,+F.+B.,+2019,+‘ICTs+as+Juju:+African+inspiration+for+understanding+the+compositeness+of+being+human+through+digital+technologies’,+Journal+of+African+Media+Studies,+Vol.+11,+No.+3,+pp.+279–291.",openUrlParams:{genre:h,atitle:c,jtitle:eZ,title:eZ,volume:$,artnum:"67447dca21c8183ee4eb27be",spage:"279",epage:"291",date:bg,sid:d,aulast:a,aufirst:a,doi:e_,au:a},innerRefId:"auto_ref-n99634230189b5bfc",title:"Nyamnjoh, F. B., 2019, ‘ICTs as Juju: African inspiration for understanding the compositeness of being human through digital technologies’, Journal of African Media Studies, Vol. 11, No. 3, pp. 279–291.",doi:e_,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1386\u002Fjams_00001_1",pubMedLink:a}]},{id:"REFe-r-153",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ENyamnjoh\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EF. B.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2018\u003C\u002Fspan\u003E, ‘’Introduction: Cannibalism as food for thought’, in \u003Cspan class=\"source\"\u003EEating and Being Eaten: Cannibalism as Food for Thought\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EFrancis\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EB. Nyamnjoh\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EBamenda, Langaa\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E1\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E98\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Eating and Being Eaten: Cannibalism as Food for Thought' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Eating+and+Being+Eaten%3A+Cannibalism+as+Food+for+Thought&author=Nyamnjoh+F.+B.&author=Francis+B.+Nyamnjoh&publication+year=2018&pages=1-98\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Eating+and+Being+Eaten%3A+Cannibalism+as+Food+for+Thought&author=Nyamnjoh+F.+B.&author=Francis+B.+Nyamnjoh&publication+year=2018&pages=1-98",openUrlParams:{genre:f,btitle:cA,title:cA,aulast:a,aufirst:a,au:a,pub:c,date:q,tpages:"98",doi:a,sid:d},innerRefId:"auto_ref-n5a84d89d29db62ee",title:cA,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-154",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ENyamnjoh\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EF. B.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2017\u003C\u002Fspan\u003E, ‘Incompleteness: Frontier Africa and the currency of conviviality’, \u003Cspan class=\"source\"\u003EJournal of Asian and African Studies\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E52\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E3\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E253\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E270\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Nyamnjoh, F. B., 2017, ‘Incompleteness: Frontier Africa and the currency of conviviality’, Journal of Asian and African Studies, Vol. 52, No. 3, pp. 253–270.' href=https:\u002F\u002Fdx.doi.org\u002F10.1177\u002F0021909615580867\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Nyamnjoh, F. B., 2017, ‘Incompleteness: Frontier Africa and the currency of conviviality’, Journal of Asian and African Studies, Vol. 52, No. 3, pp. 253–270.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Nyamnjoh,+F.+B.,+2017,+‘Incompleteness:+Frontier+Africa+and+the+currency+of+conviviality’,+Journal+of+Asian+and+African+Studies,+Vol.+52,+No.+3,+pp.+253–270.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Nyamnjoh,+F.+B.,+2017,+‘Incompleteness:+Frontier+Africa+and+the+currency+of+conviviality’,+Journal+of+Asian+and+African+Studies,+Vol.+52,+No.+3,+pp.+253–270.",openUrlParams:{genre:h,atitle:c,jtitle:aa,title:aa,volume:e$,artnum:"67447dca21c8183ee4eb27c0",spage:dP,epage:"270",date:ao,sid:d,aulast:a,aufirst:a,doi:fa,au:a},innerRefId:"auto_ref-n3c768d201e21e1a3",title:"Nyamnjoh, F. B., 2017, ‘Incompleteness: Frontier Africa and the currency of conviviality’, Journal of Asian and African Studies, Vol. 52, No. 3, pp. 253–270.",doi:fa,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1177\u002F0021909615580867",pubMedLink:a}]},{id:"REFe-r-155",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ENyamnjoh\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EF. B.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2012\u003C\u002Fspan\u003E, “‘\u003Cspan class=\"article-title\"\u003EPotted plants in greenhouses’: A critical reflection on the resilience of the colonial education in Africa\u003C\u002Fspan\u003E”, \u003Cspan class=\"source\"\u003EJournal of Asian and African Studies\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E47\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E2\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E129\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E154\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Potted plants in greenhouses’: A critical reflection on the resilience of the colonial education in Africa' href=https:\u002F\u002Fdx.doi.org\u002F10.1177\u002F0021909611417240\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Potted plants in greenhouses’: A critical reflection on the resilience of the colonial education in Africa' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Potted+plants+in+greenhouses%E2%80%99%3A+A+critical+reflection+on+the+resilience+of+the+colonial+education+in+Africa&author=Nyamnjoh+F.+B.&publication+year=2012&journal=Journal+of+Asian+and+African+Studies&volume=47&doi=10.1177%2F0021909611417240&pages=129-154\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Potted+plants+in+greenhouses%E2%80%99%3A+A+critical+reflection+on+the+resilience+of+the+colonial+education+in+Africa&author=Nyamnjoh+F.+B.&publication+year=2012&journal=Journal+of+Asian+and+African+Studies&volume=47&doi=10.1177%2F0021909611417240&pages=129-154",openUrlParams:{genre:h,atitle:fb,jtitle:aa,title:aa,volume:dx,artnum:"67447dca21c8183ee4eb27c1",spage:ew,epage:"154",date:bt,sid:d,aulast:a,aufirst:a,doi:fc,au:a},innerRefId:"auto_ref-nfdaeeb8d2f610855",title:fb,doi:fc,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1177\u002F0021909611417240",pubMedLink:a}]},{id:"REFe-r-156",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ENyamnjoh\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EF. B.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EFokwang\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2005\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EEntertaining repression: Music and politics in postcolonial Cameroon\u003C\u002Fspan\u003E’’, \u003Cspan class=\"source\"\u003EAfrican Affairs\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E104\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E415\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E251\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E274\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Entertaining repression: Music and politics in postcolonial Cameroon' href=https:\u002F\u002Fdx.doi.org\u002F10.1093\u002Fafraf\u002Fadi007\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Entertaining repression: Music and politics in postcolonial Cameroon' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Entertaining+repression%3A+Music+and+politics+in+postcolonial+Cameroon&author=Nyamnjoh+F.+B.&author=Fokwang+J.&publication+year=2005&journal=African+Affairs&volume=104&doi=10.1093%2Fafraf%2Fadi007&pages=251-274\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Entertaining+repression%3A+Music+and+politics+in+postcolonial+Cameroon&author=Nyamnjoh+F.+B.&author=Fokwang+J.&publication+year=2005&journal=African+Affairs&volume=104&doi=10.1093%2Fafraf%2Fadi007&pages=251-274",openUrlParams:{genre:h,atitle:fd,jtitle:fe,title:fe,volume:ff,artnum:"67447dca21c8183ee4eb27c2",spage:dR,epage:"274",date:t,sid:d,aulast:a,aufirst:a,doi:fg,au:a},innerRefId:"auto_ref-n18e5cb860de15b11",title:fd,doi:fg,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1093\u002Fafraf\u002Fadi007",pubMedLink:a}]},{id:"REFe-r-157",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EOlaniyan\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ET.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2004\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EArrest the Music! Fela and His Rebel Art and Politics\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EBloomington\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EIndiana University Press\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Arrest the Music! Fela and His Rebel Art and Politics' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Arrest+the+Music!+Fela+and+His+Rebel+Art+and+Politics&author=Olaniyan+T.&publication+year=2004\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Arrest+the+Music!+Fela+and+His+Rebel+Art+and+Politics&author=Olaniyan+T.&publication+year=2004",openUrlParams:{genre:f,btitle:cB,title:cB,aulast:a,aufirst:a,au:a,pub:eW,date:cC,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n247501c6c3b7c1e0",title:cB,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-158",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EOlivier\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EE.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2020\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003ECe que la téléphonie mobile fait à la musique ouest-africaine. Le projet ZikMali: un nouveau modèle de distribution musicale?\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ERéseaux\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E1\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E219\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E71\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E104\u003C\u002Fspan\u003E, \u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.cairn.info\u002Frevue-reseaux-2020-1-page-71.htm\"\u003Ewww.cairn.info\u002Frevue-reseaux-2020-1-page-71.htm\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Ce que la téléphonie mobile fait à la musique ouest-africaine. Le projet ZikMali: un nouveau modèle de distribution musicale?' href=https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fres.219.0071\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Ce que la téléphonie mobile fait à la musique ouest-africaine. Le projet ZikMali: un nouveau modèle de distribution musicale?' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Ce+que+la+t%C3%A9l%C3%A9phonie+mobile+fait+%C3%A0+la+musique+ouest-africaine.+Le+projet+ZikMali%3A+un+nouveau+mod%C3%A8le+de+distribution+musicale%3F&author=Olivier+E.&publication+year=2020&journal=R%C3%A9seaux&volume=1&doi=10.3917%2Fres.219.0071&pages=71-104\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Ce+que+la+t%C3%A9l%C3%A9phonie+mobile+fait+%C3%A0+la+musique+ouest-africaine.+Le+projet+ZikMali%3A+un+nouveau+mod%C3%A8le+de+distribution+musicale%3F&author=Olivier+E.&publication+year=2020&journal=R%C3%A9seaux&volume=1&doi=10.3917%2Fres.219.0071&pages=71-104",openUrlParams:{genre:h,atitle:fh,jtitle:fi,title:fi,volume:s,artnum:"67447dca21c8183ee4eb27c4",spage:"71",epage:ff,date:A,sid:d,aulast:a,aufirst:a,doi:fj,au:a},innerRefId:"auto_ref-nbb8f1b7600b7e0d8",title:fh,doi:fj,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fres.219.0071",pubMedLink:a}]},{id:"REFe-r-159",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EOuattara\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EI.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2018\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003ELe griot dans la société traditionnelle africaine: Patrimoine et survivance d’une conscience d’être et de culture\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EInternational Journal of Latest Research in Humanities and Social Sciences (IJLRHSS)\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E01\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E12\u003C\u002Fspan\u003E), pp. \u003Cspan class=\"fpage\"\u003E43\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E52\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le griot dans la société traditionnelle africaine: Patrimoine et survivance d’une conscience d’être et de culture' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+griot+dans+la+soci%C3%A9t%C3%A9+traditionnelle+africaine%3A+Patrimoine+et+survivance+d%E2%80%99une+conscience+d%E2%80%99%C3%AAtre+et+de+culture&author=Ouattara+I.&publication+year=2018&journal=International+Journal+of+Latest+Research+in+Humanities+and+Social+Sciences+(IJLRHSS)&volume=01&pages=43-52\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+griot+dans+la+soci%C3%A9t%C3%A9+traditionnelle+africaine%3A+Patrimoine+et+survivance+d%E2%80%99une+conscience+d%E2%80%99%C3%AAtre+et+de+culture&author=Ouattara+I.&publication+year=2018&journal=International+Journal+of+Latest+Research+in+Humanities+and+Social+Sciences+(IJLRHSS)&volume=01&pages=43-52",openUrlParams:{genre:h,atitle:fk,jtitle:fl,title:fl,volume:"01",artnum:"67447dca21c8183ee4eb27c5",spage:"43",epage:e$,date:q,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-ne0a3e6fed922c78b",title:fk,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-160",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EOuattara\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1985\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EL’influence des Américains noirs sur les Ivoiriens dans la région d’Abidjan (à travers les mass-médias)\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EKasa Bya Kasa Revue ivoirienne d’anthropologie et de sociologie \u003Cem class=\"italic\"\u003ENo.\u003C\u002Fem\u003E\u003C\u002Fspan\u003E \u003Cspan class=\"volume\"\u003E7\u003C\u002Fspan\u003E, July\u002FAugust\u002FSeptember, pp. \u003Cspan class=\"fpage\"\u003E70\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E97\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for L’influence des Américains noirs sur les Ivoiriens dans la région d’Abidjan (à travers les mass-médias)' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99influence+des+Am%C3%A9ricains+noirs+sur+les+Ivoiriens+dans+la+r%C3%A9gion+d%E2%80%99Abidjan+(%C3%A0+travers+les+mass-m%C3%A9dias)&author=Ouattara+A.&publication+year=1985&journal=Kasa+Bya+Kasa+Revue+ivoirienne+d%E2%80%99anthropologie+et+de+sociologie+No.&volume=7&pages=70-97\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99influence+des+Am%C3%A9ricains+noirs+sur+les+Ivoiriens+dans+la+r%C3%A9gion+d%E2%80%99Abidjan+(%C3%A0+travers+les+mass-m%C3%A9dias)&author=Ouattara+A.&publication+year=1985&journal=Kasa+Bya+Kasa+Revue+ivoirienne+d%E2%80%99anthropologie+et+de+sociologie+No.&volume=7&pages=70-97",openUrlParams:{genre:h,atitle:fm,jtitle:fn,title:fn,volume:W,artnum:"67447dca21c8183ee4eb27c6",spage:eY,epage:ea,date:w,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n7eeb83addf82ea52",title:fm,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-161",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EOuattara\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EO. J.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ELasme\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM. F\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E., \u003Cspan class=\"year\"\u003E2016\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003ELa musique islamique en Côte d’Ivoire: Difficultés et conditions d’émergence\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ECommunication en question\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E6\u003C\u002Fspan\u003E, June\u002FJuly, pp. \u003Cspan class=\"fpage\"\u003E22\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E39\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La musique islamique en Côte d’Ivoire: Difficultés et conditions d’émergence' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+musique+islamique+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Difficult%C3%A9s+et+conditions+d%E2%80%99%C3%A9mergence&author=Ouattara+O.+J.&author=Lasme+M.+F&publication+year=2016&journal=Communication+en+question&volume=6&pages=22-39\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+musique+islamique+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Difficult%C3%A9s+et+conditions+d%E2%80%99%C3%A9mergence&author=Ouattara+O.+J.&author=Lasme+M.+F&publication+year=2016&journal=Communication+en+question&volume=6&pages=22-39",openUrlParams:{genre:h,atitle:fo,jtitle:fp,title:fp,volume:ab,artnum:"67447dca21c8183ee4eb27c7",spage:fq,epage:aG,date:F,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-ncd125d5cd4e23179",title:fo,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-162",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EPaillé\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EL.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2004\u003C\u002Fspan\u003E, \u003Cem class=\"italic\"\u003ELivre: La démarche de création\u003C\u002Fem\u003E, Trois-Rivières, ed. Le Sabord.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Paillé, L., 2004, Livre: La démarche de création, Trois-Rivières, ed. Le Sabord.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Paillé,+L.,+2004,+Livre:+La+démarche+de+création,+Trois-Rivières,+ed.+Le+Sabord.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Paillé,+L.,+2004,+Livre:+La+démarche+de+création,+Trois-Rivières,+ed.+Le+Sabord.",openUrlParams:{genre:k,date:cC,sid:d,title:c},innerRefId:"auto_ref-n7b935449a288bbd3",title:"Paillé, L., 2004, Livre: La démarche de création, Trois-Rivières, ed. Le Sabord.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-163",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EPajon\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EL.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2021\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EIl faut rendre à Manu …\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EJeune Afrique\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E3096\u003C\u002Fspan\u003E, January, pp. \u003Cspan class=\"fpage\"\u003E54\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E55\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Il faut rendre à Manu …' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Il+faut+rendre+%C3%A0+Manu+%E2%80%A6&author=Pajon+L.&publication+year=2021&journal=Jeune+Afrique&volume=3096&pages=54-55\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Il+faut+rendre+%C3%A0+Manu+%E2%80%A6&author=Pajon+L.&publication+year=2021&journal=Jeune+Afrique&volume=3096&pages=54-55",openUrlParams:{genre:h,atitle:fr,jtitle:fs,title:fs,volume:"3096",artnum:"67447dca21c8183ee4eb27c9",spage:"54",epage:dE,date:au,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-nb2dcd3b30a426778",title:fr,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-164",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EPasseron\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ER.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1999\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EEsthétique et poïétique\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EFilozofski vestnik\u003C\u002Fspan\u003E, \u003Cspan class=\"volume\"\u003EXX\u003C\u002Fspan\u003E \u003Cem class=\"italic\"\u003E(2\u002F1999 – XIVICA)\u003C\u002Fem\u003E, pp. \u003Cspan class=\"fpage\"\u003E265\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E276\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Esthétique et poïétique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Esth%C3%A9tique+et+po%C3%AF%C3%A9tique&author=Passeron+R.&publication+year=1999&journal=Filozofski+vestnik&volume=XX&pages=265-276\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Esth%C3%A9tique+et+po%C3%AF%C3%A9tique&author=Passeron+R.&publication+year=1999&journal=Filozofski+vestnik&volume=XX&pages=265-276",openUrlParams:{genre:h,atitle:ft,jtitle:fu,title:fu,volume:"XX",artnum:"67447dca21c8183ee4eb27ca",spage:ee,epage:"276",date:v,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n74742e1818838e6a",title:ft,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-165",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EPaturet\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.-B.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EQu’est-ce qu’un héritage? Un enjeu pour le travail social de demain\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EEmpan\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E4\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E68\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E22\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E27\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Qu’est-ce qu’un héritage? Un enjeu pour le travail social de demain' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Qu%E2%80%99est-ce+qu%E2%80%99un+h%C3%A9ritage%3F+Un+enjeu+pour+le+travail+social+de+demain&author=Paturet+J.-B.&publication+year=2007&journal=Empan&volume=4&pages=22-27\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Qu%E2%80%99est-ce+qu%E2%80%99un+h%C3%A9ritage%3F+Un+enjeu+pour+le+travail+social+de+demain&author=Paturet+J.-B.&publication+year=2007&journal=Empan&volume=4&pages=22-27",openUrlParams:{genre:h,atitle:fv,jtitle:fw,title:fw,volume:R,artnum:"67447dca21c8183ee4eb27cb",spage:fq,epage:Y,date:l,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-nc19f73d091d7938",title:fv,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-166",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EPicton\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EA Tribute to William Fagg, April 28, 1914–July 10, 1992\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EAfrican Arts\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E27\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E3\u003C\u002Fspan\u003E, Memorial to William Fagg (Jul., 1994), pp. 26–29, \u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.jstor.org\u002Fstable\u002F3337198\"\u003Ewww.jstor.org\u002Fstable\u002F3337198\u003C\u002Fa\u003E; accessed 30 August 2019.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for A Tribute to William Fagg, April 28, 1914–July 10, 1992' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=A+Tribute+to+William+Fagg%2C+April+28%2C+1914%E2%80%93July+10%2C+1992&author=Picton+J.&publication+year=1992&journal=African+Arts&volume=27\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=A+Tribute+to+William+Fagg%2C+April+28%2C+1914%E2%80%93July+10%2C+1992&author=Picton+J.&publication+year=1992&journal=African+Arts&volume=27",openUrlParams:{genre:h,atitle:fx,jtitle:fy,title:fy,volume:Y,artnum:"67447dca21c8183ee4eb27cc",spage:c,epage:c,date:m,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n9a4190ec0e7e8fcf",title:fx,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-167",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EPiermay\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.-L.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2003\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EL’apprentissage de la ville en Afrique sud-saharienne\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ELe mouvement social\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E3\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E204\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E35\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E46\u003C\u002Fspan\u003E, \u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.cairn.info\u002Frevue-le-mouvement-social-2003-3-page-35.htm\"\u003Ewww.cairn.info\u002Frevue-le-mouvement-social-2003-3-page-35.htm\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for L’apprentissage de la ville en Afrique sud-saharienne' href=https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Flms.204.0035\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for L’apprentissage de la ville en Afrique sud-saharienne' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99apprentissage+de+la+ville+en+Afrique+sud-saharienne&author=Piermay+J.-L.&publication+year=2003&journal=Le+mouvement+social&volume=3&doi=10.3917%2Flms.204.0035&pages=35-46\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99apprentissage+de+la+ville+en+Afrique+sud-saharienne&author=Piermay+J.-L.&publication+year=2003&journal=Le+mouvement+social&volume=3&doi=10.3917%2Flms.204.0035&pages=35-46",openUrlParams:{genre:h,atitle:fz,jtitle:fA,title:fA,volume:E,artnum:"67447dca21c8183ee4eb27cd",spage:"35",epage:"46",date:M,sid:d,aulast:a,aufirst:a,doi:fB,au:a},innerRefId:"auto_ref-n65461abf14a87af8",title:fz,doi:fB,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Flms.204.0035",pubMedLink:a}]},{id:"REFe-r-168",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EPierrat\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EE.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2005\u003C\u002Fspan\u003E, ‘How is copyright protected in Africa? An answer from Emmanuel Pierrat, lawyer at the Paris Bar and writer, specialising in intellectual property law’, interviewed by Ibrahima Dia, \u003Cem class=\"italic\"\u003EJeune Afrique\u003C\u002Fem\u003E, 18 July, \u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.jeuneafrique.com\u002F94652\u002Farchives-thematique\u002Fcomment-est-prot-g-le-droit-d-auteur-en-afrique\u002F\"\u003Ewww.jeuneafrique.com\u002F94652\u002Farchives-thematique\u002Fcomment-est-prot-g-le-droit-d-auteur-en-afrique\u002F\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Pierrat, E., 2005, ‘How is copyright protected in Africa? An answer from Emmanuel Pierrat, lawyer at the Paris Bar and writer, specialising in intellectual property law’, interviewed by Ibrahima Dia, Jeune Afrique, 18 July, www.jeuneafrique.com\u002F94652\u002Farchives-thematique\u002Fcomment-est-prot-g-le-droit-d-auteur-en-afrique\u002F.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Pierrat,+E.,+2005,+‘How+is+copyright+protected+in+Africa?+An+answer+from+Emmanuel+Pierrat,+lawyer+at+the+Paris+Bar+and+writer,+specialising+in+intellectual+property+law’,+interviewed+by+Ibrahima+Dia,+Jeune+Afrique,+18+July,+www.jeuneafrique.com\u002F94652\u002Farchives-thematique\u002Fcomment-est-prot-g-le-droit-d-auteur-en-afrique\u002F.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Pierrat,+E.,+2005,+‘How+is+copyright+protected+in+Africa?+An+answer+from+Emmanuel+Pierrat,+lawyer+at+the+Paris+Bar+and+writer,+specialising+in+intellectual+property+law’,+interviewed+by+Ibrahima+Dia,+Jeune+Afrique,+18+July,+www.jeuneafrique.com\u002F94652\u002Farchives-thematique\u002Fcomment-est-prot-g-le-droit-d-auteur-en-afrique\u002F.",openUrlParams:{genre:k,date:t,sid:d,title:c},innerRefId:"auto_ref-nca7ae627ed2351ab",title:"Pierrat, E., 2005, ‘How is copyright protected in Africa? An answer from Emmanuel Pierrat, lawyer at the Paris Bar and writer, specialising in intellectual property law’, interviewed by Ibrahima Dia, Jeune Afrique, 18 July, www.jeuneafrique.com\u002F94652\u002Farchives-thematique\u002Fcomment-est-prot-g-le-droit-d-auteur-en-afrique\u002F.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-169",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EPlato\u003C\u002Fspan\u003E, \u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1966\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EThe Republic\u003C\u002Fspan\u003E, translation and notes by R. Baccou, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EGF Flammarion\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for The Republic' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+Republic&author=Plato+&publication+year=1966\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+Republic&author=Plato+&publication+year=1966",openUrlParams:{genre:f,btitle:cD,title:cD,aulast:a,aufirst:a,au:a,pub:"GF Flammarion",date:ec,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nb52612cb1a49a8b1",title:cD,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-170",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EPopovitch\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ETango ya ba Wendo\u003C\u002Fspan\u003E, documentaire, couleur, 52 minutes, \u003Cspan class=\"publisher-loc\"\u003EBruxelles, Atelier Jeunes Cinéastes Ti Suka.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Tango ya ba Wendo' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Tango+ya+ba+Wendo&author=Popovitch+M.&publication+year=1992\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Tango+ya+ba+Wendo&author=Popovitch+M.&publication+year=1992",openUrlParams:{genre:f,btitle:cE,title:cE,aulast:a,aufirst:a,au:a,pub:c,date:m,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n7fa9a1127329cff4",title:cE,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-171",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMartin\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ED.-C.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2000\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003ECherchez le peuple… Culture, populaire et politique\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ECritique internationale\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E7\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E169\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E183\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Cherchez le peuple… Culture, populaire et politique' href=https:\u002F\u002Fdx.doi.org\u002F10.3406\u002Fcriti.2000.1571\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Cherchez le peuple… Culture, populaire et politique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Cherchez+le+peuple%E2%80%A6+Culture%2C+populaire+et+politique&author=Martin+D.-C.&publication+year=2000&journal=Critique+internationale&volume=7&doi=10.3406%2Fcriti.2000.1571&pages=169-183\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Cherchez+le+peuple%E2%80%A6+Culture%2C+populaire+et+politique&author=Martin+D.-C.&publication+year=2000&journal=Critique+internationale&volume=7&doi=10.3406%2Fcriti.2000.1571&pages=169-183",openUrlParams:{genre:h,atitle:fC,jtitle:fD,title:fD,volume:W,artnum:"67447dca21c8183ee4eb27d1",spage:"169",epage:"183",date:_,sid:d,aulast:a,aufirst:a,doi:fE,au:a},innerRefId:"auto_ref-nf0b6480bd01e5f00",title:fC,doi:fE,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3406\u002Fcriti.2000.1571",pubMedLink:a}]},{id:"REFe-r-172",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERetord\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1986\u003C\u002Fspan\u003E, ‘Les premières projections cinématographiques en Côte d’Ivoire’, \u003Cspan class=\"source\"\u003ECommunication Audiovisuelle,\u003C\u002Fspan\u003E No. \u003Cspan class=\"volume\"\u003E6\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E11\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E31\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Retord, G., 1986, ‘Les premières projections cinématographiques en Côte d’Ivoire’, Communication Audiovisuelle, No. 6, pp. 11–31.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Retord,+G.,+1986,+‘Les+premières+projections+cinématographiques+en+Côte+d’Ivoire’,+Communication+Audiovisuelle,+No.+6,+pp.+11–31.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Retord,+G.,+1986,+‘Les+premières+projections+cinématographiques+en+Côte+d’Ivoire’,+Communication+Audiovisuelle,+No.+6,+pp.+11–31.",openUrlParams:{genre:h,atitle:c,jtitle:fF,title:fF,volume:ab,artnum:"67447dca21c8183ee4eb27d2",spage:$,epage:eq,date:r,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-nb1efa750e15e6632",title:"Retord, G., 1986, ‘Les premières projections cinématographiques en Côte d’Ivoire’, Communication Audiovisuelle, No. 6, pp. 11–31.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-173",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERicci\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ED.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2016\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ECinémas des diasporas noires: esthétique de la reconstruction\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EL’Harmattan.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Cinémas des diasporas noires: esthétique de la reconstruction' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Cin%C3%A9mas+des+diasporas+noires%3A+esth%C3%A9tique+de+la+reconstruction&author=Ricci+D.&publication+year=2016\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Cin%C3%A9mas+des+diasporas+noires%3A+esth%C3%A9tique+de+la+reconstruction&author=Ricci+D.&publication+year=2016",openUrlParams:{genre:f,btitle:cF,title:cF,aulast:a,aufirst:a,au:a,pub:"L’Harmattan.",date:F,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-na670ff6a167f850f",title:cF,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-174",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERöschenthaler\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EU.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2015\u003C\u002Fspan\u003E, ‘“\u003Cspan class=\"chapter-title\"\u003EBe faster than the pirates”. Copyright and the revival of “traditional dances” in south-west Cameroon\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ECopyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERöschenthaler\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EUte\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EDiawarra\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EMamadou\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Eds.), \u003Cspan class=\"publisher-name\"\u003ECanon Pyon, Sean Kingston Publishing\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E177\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E213\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Copyright+Africa%3A+How+Intellectual+Property%2C+Media+and+Markets+Transform+Immaterial+Cultural+Goods&author=R%C3%B6schenthaler+U.&author=R%C3%B6schenthaler+Ute&author=Diawarra+Mamadou&publication+year=2015&pages=177-213\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Copyright+Africa%3A+How+Intellectual+Property%2C+Media+and+Markets+Transform+Immaterial+Cultural+Goods&author=R%C3%B6schenthaler+U.&author=R%C3%B6schenthaler+Ute&author=Diawarra+Mamadou&publication+year=2015&pages=177-213",openUrlParams:{genre:i,btitle:p,title:p,atitle:"Be faster than the pirates”. Copyright and the revival of “traditional dances” in south-west Cameroon",aulast:a,aufirst:a,au:a,pub:ed,date:x,spage:"177",epage:"213",doi:a,sid:d},innerRefId:"auto_ref-nf42da4955f441070",title:p,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-175",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERoskem\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EK. J. P.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2014\u003C\u002Fspan\u003E, \u003Cem class=\"italic\"\u003EL’émergence d’une scène musicale à N’Djaména. Indentification des acteurs et des territoires\u003C\u002Fem\u003E, doctoral thesis in information and communication sciences, Avignon, Université d’Avignon et des pays du Vaucluse.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Roskem, K. J. P., 2014, L’émergence d’une scène musicale à N’Djaména. Indentification des acteurs et des territoires, doctoral thesis in information and communication sciences, Avignon, Université d’Avignon et des pays du Vaucluse.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Roskem,+K.+J.+P.,+2014,+L’émergence+d’une+scène+musicale+à+N’Djaména.+Indentification+des+acteurs+et+des+territoires,+doctoral+thesis+in+information+and+communication+sciences,+Avignon,+Université+d’Avignon+et+des+pays+du+Vaucluse.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Roskem,+K.+J.+P.,+2014,+L’émergence+d’une+scène+musicale+à+N’Djaména.+Indentification+des+acteurs+et+des+territoires,+doctoral+thesis+in+information+and+communication+sciences,+Avignon,+Université+d’Avignon+et+des+pays+du+Vaucluse.",openUrlParams:{genre:k,date:aI,sid:d,title:c},innerRefId:"auto_ref-n5ff67813ed5ffa92",title:"Roskem, K. J. P., 2014, L’émergence d’une scène musicale à N’Djaména. Indentification des acteurs et des territoires, doctoral thesis in information and communication sciences, Avignon, Université d’Avignon et des pays du Vaucluse.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-176",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERouch\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1967\u003C\u002Fspan\u003E, \u003Cem class=\"italic\"\u003EJaguar\u003C\u002Fem\u003E, Paris, Les films de la Pléiade, 35 mm, colour, 110 min.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Rouch, J., 1967, Jaguar, Paris, Les films de la Pléiade, 35 mm, colour, 110 min.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Rouch,+J.,+1967,+Jaguar,+Paris,+Les+films+de+la+Pléiade,+35+mm,+colour,+110+min.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Rouch,+J.,+1967,+Jaguar,+Paris,+Les+films+de+la+Pléiade,+35+mm,+colour,+110+min.",openUrlParams:{genre:k,date:"1967",sid:d,title:c},innerRefId:"auto_ref-n9737f785520aa627",title:"Rouch, J., 1967, Jaguar, Paris, Les films de la Pléiade, 35 mm, colour, 110 min.",doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-177",displayNumber:a,existInContent:e,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERouch\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1961\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa pyramide humaine\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ELes films de la Pléiade\u003C\u002Fspan\u003E, 16 mm, black and white, 90 min.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La pyramide humaine' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+pyramide+humaine&author=Rouch+J.&publication+year=1961\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+pyramide+humaine&author=Rouch+J.&publication+year=1961",openUrlParams:{genre:f,btitle:cG,title:cG,aulast:a,aufirst:a,au:a,pub:fG,date:en,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nce777308bbc4654c",title:cG,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-178",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERouch\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1959\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EMoi un noir\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ELes films de la Pléiade\u003C\u002Fspan\u003E, 16 mm, colour, 73 min.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Moi un noir' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Moi+un+noir&author=Rouch+J.&publication+year=1959\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Moi+un+noir&author=Rouch+J.&publication+year=1959",openUrlParams:{genre:f,btitle:cH,title:cH,aulast:a,aufirst:a,au:a,pub:fG,date:"1959",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n258944b9f8c584a4",title:cH,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-179",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERouch\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1955\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELes maîtres fous\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Les films de la Pléiade\u003C\u002Fspan\u003E, 16 mm, color, 36 min.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les maîtres fous' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+ma%C3%AEtres+fous&author=Rouch+J.&publication+year=1955\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+ma%C3%AEtres+fous&author=Rouch+J.&publication+year=1955",openUrlParams:{genre:f,btitle:cI,title:cI,aulast:a,aufirst:a,au:a,pub:c,date:"1955",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nbd035e6939c5a79c",title:cI,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-180",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERouzé\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EV.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2004\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELes musiques diffusées dans les lieux publics: Analyse et enjeux de pratiques communicationnelles quotidiennes\u003C\u002Fspan\u003E, Doctoral thesis in Information and Communication Sciences, \u003Cspan class=\"publisher-loc\"\u003ESaint-Denis, Université Paris VIII\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les musiques diffusées dans les lieux publics: Analyse et enjeux de pratiques communicationnelles quotidiennes' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+musiques+diffus%C3%A9es+dans+les+lieux+publics%3A+Analyse+et+enjeux+de+pratiques+communicationnelles+quotidiennes&author=Rouz%C3%A9+V.&publication+year=2004\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+musiques+diffus%C3%A9es+dans+les+lieux+publics%3A+Analyse+et+enjeux+de+pratiques+communicationnelles+quotidiennes&author=Rouz%C3%A9+V.&publication+year=2004",openUrlParams:{genre:f,btitle:cJ,title:cJ,aulast:a,aufirst:a,au:a,pub:c,date:cC,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n47f6ecb09ea5dadf",title:cJ,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-181",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERowlands\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2008\u003C\u002Fspan\u003E, ‘Civilization, violence and heritage healing in Liberia’, \u003Cspan class=\"source\"\u003EJournal of Material Culture\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E13\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E2\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E135\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E152\u003C\u002Fspan\u003E, DOI: \u003Ca class=\"uri\" href=\"https:\u002F\u002F10.1177\u002F1359183508090900\"\u003Ehttps:\u002F\u002F10.1177\u002F1359183508090900\u003C\u002Fa\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Rowlands, M., 2008, ‘Civilization, violence and heritage healing in Liberia’, Journal of Material Culture, Vol. 13, No. 2, pp. 135–152, DOI: https:\u002F\u002F10.1177\u002F1359183508090900.' href=https:\u002F\u002Fdx.doi.org\u002F10.1177\u002F1359183508090900\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Rowlands, M., 2008, ‘Civilization, violence and heritage healing in Liberia’, Journal of Material Culture, Vol. 13, No. 2, pp. 135–152, DOI: https:\u002F\u002F10.1177\u002F1359183508090900.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Rowlands,+M.,+2008,+‘Civilization,+violence+and+heritage+healing+in+Liberia’,+Journal+of+Material+Culture,+Vol.+13,+No.+2,+pp.+135–152,+DOI:+https:\u002F\u002F10.1177\u002F1359183508090900.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Rowlands,+M.,+2008,+‘Civilization,+violence+and+heritage+healing+in+Liberia’,+Journal+of+Material+Culture,+Vol.+13,+No.+2,+pp.+135–152,+DOI:+https:\u002F\u002F10.1177\u002F1359183508090900.",openUrlParams:{genre:h,atitle:c,jtitle:fH,title:fH,volume:bD,artnum:"67447dca21c8183ee4eb27db",spage:"135",epage:"152",date:J,sid:d,aulast:a,aufirst:a,doi:fI,au:a},innerRefId:"auto_ref-n279831ff785fe12",title:"Rowlands, M., 2008, ‘Civilization, violence and heritage healing in Liberia’, Journal of Material Culture, Vol. 13, No. 2, pp. 135–152, DOI: https:\u002F\u002F10.1177\u002F1359183508090900.",doi:fI,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1177\u002F1359183508090900",pubMedLink:a}]},{id:"REFe-r-182",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERowlands\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1993\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EThe role of memory in the transmission of culture\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EWorld Archeology\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E5\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E2\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E141\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E151\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for The role of memory in the transmission of culture' href=https:\u002F\u002Fdx.doi.org\u002F10.1080\u002F00438243.1993.9980234\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for The role of memory in the transmission of culture' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+role+of+memory+in+the+transmission+of+culture&author=Rowlands+M.&publication+year=1993&journal=World+Archeology&volume=5&doi=10.1080%2F00438243.1993.9980234&pages=141-151\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+role+of+memory+in+the+transmission+of+culture&author=Rowlands+M.&publication+year=1993&journal=World+Archeology&volume=5&doi=10.1080%2F00438243.1993.9980234&pages=141-151",openUrlParams:{genre:h,atitle:fJ,jtitle:fK,title:fK,volume:N,artnum:"67447dca21c8183ee4eb27dc",spage:"141",epage:"151",date:V,sid:d,aulast:a,aufirst:a,doi:fL,au:a},innerRefId:"auto_ref-nda0d483ce410a920",title:fJ,doi:fL,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1080\u002F00438243.1993.9980234",pubMedLink:a}]},{id:"REFe-r-183",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ESadji\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1985\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ECe que dit la musique africaine\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPrésence africaine\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Ce que dit la musique africaine' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Ce+que+dit+la+musique+africaine&author=Sadji+A.&publication+year=1985\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Ce+que+dit+la+musique+africaine&author=Sadji+A.&publication+year=1985",openUrlParams:{genre:f,btitle:cK,title:cK,aulast:a,aufirst:a,au:a,pub:T,date:w,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n28b5e5e3dd70fff7",title:cK,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-184",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ESartre\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.-P.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1972\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EPlaidoyer pour les intellectuels\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EGallimard\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Plaidoyer pour les intellectuels' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Plaidoyer+pour+les+intellectuels&author=Sartre+J.-P.&publication+year=1972\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Plaidoyer+pour+les+intellectuels&author=Sartre+J.-P.&publication+year=1972",openUrlParams:{genre:f,btitle:cL,title:cL,aulast:a,aufirst:a,au:a,pub:"Gallimard",date:dr,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n8fcffe931a701f2f",title:cL,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-185",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ESchechner\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ER.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2008\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EPerformance: Expérimentation et théorie du théâtre aux USA\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EMontreuil-sous-Bois, Éditions Théâtrales\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Performance: Expérimentation et théorie du théâtre aux USA' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Performance%3A+Exp%C3%A9rimentation+et+th%C3%A9orie+du+th%C3%A9%C3%A2tre+aux+USA&author=Schechner+R.&publication+year=2008\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Performance%3A+Exp%C3%A9rimentation+et+th%C3%A9orie+du+th%C3%A9%C3%A2tre+aux+USA&author=Schechner+R.&publication+year=2008",openUrlParams:{genre:f,btitle:cM,title:cM,aulast:a,aufirst:a,au:a,pub:"Montreuil-sous-Bois, Éditions Théâtrales",date:J,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-ne741d04c5b703e07",title:cM,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-186",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ESchechner\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ER.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1985\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EBetween Theatre and Anthropology\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EPhiladelphia\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EUniversity of Pennsylvania Press\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Between Theatre and Anthropology' href=https:\u002F\u002Fdx.doi.org\u002F10.9783\u002F9780812200928\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Between Theatre and Anthropology' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Between+Theatre+and+Anthropology&author=Schechner+R.&publication+year=1985\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Between+Theatre+and+Anthropology&author=Schechner+R.&publication+year=1985",openUrlParams:{genre:f,btitle:cN,title:cN,aulast:a,aufirst:a,au:a,pub:"University of Pennsylvania Press",date:w,tpages:c,doi:fM,sid:d},innerRefId:"auto_ref-na1cb66abb050555a",title:cN,doi:fM,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.9783\u002F9780812200928",pubMedLink:a}]},{id:"REFe-r-187",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ESchütz\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EÉcrits sur la musique: 1924–1956\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EEditions MF\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Écrits sur la musique: 1924–1956' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=%C3%89crits+sur+la+musique%3A+1924%E2%80%931956&author=Sch%C3%BCtz+A.&publication+year=2007\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=%C3%89crits+sur+la+musique%3A+1924%E2%80%931956&author=Sch%C3%BCtz+A.&publication+year=2007",openUrlParams:{genre:f,btitle:cO,title:cO,aulast:a,aufirst:a,au:a,pub:"Editions MF",date:l,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nd65dbeaed9707057",title:cO,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-188",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EScott\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ. C.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2009\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EDomination and the Arts of Resistance: Fragments du discours subalterne\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Éditions Amsterdam\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Domination and the Arts of Resistance: Fragments du discours subalterne' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Domination+and+the+Arts+of+Resistance%3A+Fragments+du+discours+subalterne&author=Scott+J.+C.&publication+year=2009\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Domination+and+the+Arts+of+Resistance%3A+Fragments+du+discours+subalterne&author=Scott+J.+C.&publication+year=2009",openUrlParams:{genre:f,btitle:cP,title:cP,aulast:a,aufirst:a,au:a,pub:c,date:y,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n2dd7905e2671938f",title:cP,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-189",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ESegobye\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA. K.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EThe gods are resting there: Challenges to the protection of heritage sites through legislation and local knowledge\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003EIndigenous Knowledge Systems and Intellectual Property in the Twenty-First Century: Perspectives from Southern Africa\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMazondé\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EIsaac\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E and \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EThomas\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EPradip\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Eds.), \u003Cspan class=\"publisher-loc\"\u003EDakar, CODESRIA\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E78\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E94\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Indigenous Knowledge Systems and Intellectual Property in the Twenty-First Century: Perspectives from Southern Africa' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Indigenous+Knowledge+Systems+and+Intellectual+Property+in+the+Twenty-First+Century%3A+Perspectives+from+Southern+Africa&author=Segobye+A.+K.&author=Mazond%C3%A9+Isaac&author=Thomas+Pradip&publication+year=2007&pages=78-94\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Indigenous+Knowledge+Systems+and+Intellectual+Property+in+the+Twenty-First+Century%3A+Perspectives+from+Southern+Africa&author=Segobye+A.+K.&author=Mazond%C3%A9+Isaac&author=Thomas+Pradip&publication+year=2007&pages=78-94",openUrlParams:{genre:i,btitle:C,title:C,atitle:"The gods are resting there: Challenges to the protection of heritage sites through legislation and local knowledge",aulast:a,aufirst:a,au:a,pub:c,date:l,spage:"78",epage:fN,doi:a,sid:d},innerRefId:"auto_ref-ne85926a57f51b6c2",title:C,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-190",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ESéry\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EB.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2015\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELe Tohourou: Un chemin vers la sagesse\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EAbidjan, NEB.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le Tohourou: Un chemin vers la sagesse' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+Tohourou%3A+Un+chemin+vers+la+sagesse&author=S%C3%A9ry+B.&publication+year=2015\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+Tohourou%3A+Un+chemin+vers+la+sagesse&author=S%C3%A9ry+B.&publication+year=2015",openUrlParams:{genre:f,btitle:cQ,title:cQ,aulast:a,aufirst:a,au:a,pub:c,date:x,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n5423fa220d2c9164",title:cQ,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-191",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ETacussel\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ERenard\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.-B.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1998\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EImaginaire et sociologie\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EIntroduction aux méthodologies de l’imaginaire\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EThomas\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJoël\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EParis, Ellipses\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E273\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E280\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Introduction aux méthodologies de l’imaginaire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Introduction+aux+m%C3%A9thodologies+de+l%E2%80%99imaginaire&author=Tacussel+P.&author=Renard+J.-B.&author=Thomas+Jo%C3%ABl&publication+year=1998&pages=273-280\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Introduction+aux+m%C3%A9thodologies+de+l%E2%80%99imaginaire&author=Tacussel+P.&author=Renard+J.-B.&author=Thomas+Jo%C3%ABl&publication+year=1998&pages=273-280",openUrlParams:{genre:i,btitle:D,title:D,atitle:"Imaginaire et sociologie",aulast:a,aufirst:a,au:a,pub:c,date:I,spage:"273",epage:"280",doi:a,sid:d},innerRefId:"auto_ref-nd4c99d1b6a11e0b0",title:D,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-192",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ETapé\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1986\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EL’art et l’artiste selon Srolou\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ELa musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWondji\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EChristophe\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPrésence Africaine\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E137\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E157\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=Tap%C3%A9+G.&author=Wondji+Christophe&publication+year=1986&pages=137-157\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:fO,openUrlParams:{genre:i,btitle:o,title:o,atitle:fP,aulast:a,aufirst:a,au:a,pub:X,date:r,spage:fQ,epage:fR,doi:a,sid:d},innerRefId:"auto_ref-n30923081f8eccad2",title:o,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-193",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ETapé\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1986\u003C\u002Fspan\u003Eb, ‘\u003Cspan class=\"chapter-title\"\u003EL’art et l’artiste selon Srolou\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ELa musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWondji\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EChristophe\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EParis, Présence africaine\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E137\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E157\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=Tap%C3%A9+G.&author=Wondji+Christophe&publication+year=1986&pages=137-157\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:fO,openUrlParams:{genre:i,btitle:o,title:o,atitle:fP,aulast:a,aufirst:a,au:a,pub:c,date:r,spage:fQ,epage:fR,doi:a,sid:d},innerRefId:"auto_ref-n7c226ec0beb171a1",title:o,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-194",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ETesser\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2006\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EMusique, identité et insertion sociale. Mangue Beat: humus culturel\u003C\u002Fspan\u003E, Thèse de Doctorat en sociologie, \u003Cspan class=\"publisher-name\"\u003EParis, Université Paris-Descartes.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Musique, identité et insertion sociale. Mangue Beat: humus culturel' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Musique%2C+identit%C3%A9+et+insertion+sociale.+Mangue+Beat%3A+humus+culturel&author=Tesser+P.&publication+year=2006\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Musique%2C+identit%C3%A9+et+insertion+sociale.+Mangue+Beat%3A+humus+culturel&author=Tesser+P.&publication+year=2006",openUrlParams:{genre:f,btitle:cR,title:cR,aulast:a,aufirst:a,au:a,pub:"Paris, Université Paris-Descartes.",date:bN,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-neaa361bd8f27f81b",title:cR,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-195",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EThomas\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1998\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EIntroduction\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EIntroduction aux méthodologies de l’imaginaire\u003C\u002Fspan\u003E. \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EThomas\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJoël\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EParis, Ellipses\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E15\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E21\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Introduction aux méthodologies de l’imaginaire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Introduction+aux+m%C3%A9thodologies+de+l%E2%80%99imaginaire&author=Thomas+J.&author=Thomas+Jo%C3%ABl&publication+year=1998&pages=15-21\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Introduction+aux+m%C3%A9thodologies+de+l%E2%80%99imaginaire&author=Thomas+J.&author=Thomas+Jo%C3%ABl&publication+year=1998&pages=15-21",openUrlParams:{genre:i,btitle:D,title:D,atitle:ad,aulast:a,aufirst:a,au:a,pub:c,date:I,spage:"15",epage:eU,doi:a,sid:d},innerRefId:"auto_ref-n6b490896ec0c4b57",title:D,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-196",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EThomas\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ENyamnjoh\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EF.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EIntellectual property challenges in Africa: Indigenous knowledge systems and the fate of connected worlds\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003EIndigenous Knowledge Systems and Intellectual Property in the Twenty-First Century: Perspectives from Southern Africa\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EMazonde\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EIsaac\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EThomas\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EPradip\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Eds.), \u003Cspan class=\"publisher-loc\"\u003EDakar, Codesria\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E12\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E25\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Indigenous Knowledge Systems and Intellectual Property in the Twenty-First Century: Perspectives from Southern Africa' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Indigenous+Knowledge+Systems+and+Intellectual+Property+in+the+Twenty-First+Century%3A+Perspectives+from+Southern+Africa&author=Thomas+P.&author=Nyamnjoh+F.&author=Mazonde+Isaac&author=Thomas+Pradip&publication+year=2007&pages=12-25\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Indigenous+Knowledge+Systems+and+Intellectual+Property+in+the+Twenty-First+Century%3A+Perspectives+from+Southern+Africa&author=Thomas+P.&author=Nyamnjoh+F.&author=Mazonde+Isaac&author=Thomas+Pradip&publication+year=2007&pages=12-25",openUrlParams:{genre:i,btitle:C,title:C,atitle:"Intellectual property challenges in Africa: Indigenous knowledge systems and the fate of connected worlds",aulast:a,aufirst:a,au:a,pub:c,date:l,spage:as,epage:dX,doi:a,sid:d},innerRefId:"auto_ref-n19ca0383bab2f201",title:C,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-197",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ETiton\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ET. J.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EMusic, folk and traditional\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003EFolklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EBauman\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ERichard\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EOxford\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EOxford University Press\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E167\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E171\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https:\u002F\u002Fdx.doi.org\u002F10.1093\u002Foso\u002F9780195069198.003.0023\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Folklore%2C+Cultural+Performances%2C+and+Popular+Entertainments%3A+A+Communications-Centered+Handbook&author=Titon+T.+J.&author=Bauman+Richard&publication+year=1992&pages=167-171\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Folklore%2C+Cultural+Performances%2C+and+Popular+Entertainments%3A+A+Communications-Centered+Handbook&author=Titon+T.+J.&author=Bauman+Richard&publication+year=1992&pages=167-171",openUrlParams:{genre:i,btitle:n,title:n,atitle:"Music, folk and traditional",aulast:a,aufirst:a,au:a,pub:S,date:m,spage:"167",epage:"171",doi:fS,sid:d},innerRefId:"auto_ref-n32e4739808f23c6b",title:n,doi:fS,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1093\u002Foso\u002F9780195069198.003.0023",pubMedLink:a}]},{id:"REFe-r-198",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EToulabor\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1993\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EMasque errant?\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EPolitique africaine\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E51\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E3\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E6\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Masque errant?' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Masque+errant%3F&author=Toulabor+C.&publication+year=1993&journal=Politique+africaine&volume=51&pages=3-6\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Masque+errant%3F&author=Toulabor+C.&publication+year=1993&journal=Politique+africaine&volume=51&pages=3-6",openUrlParams:{genre:h,atitle:fT,jtitle:fU,title:fU,volume:bf,artnum:"67447dca21c8183ee4eb27ec",spage:E,epage:ab,date:V,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n7e75a9d8ceb8a2fa",title:fT,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-199",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ETouré\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1981\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa civilisation quotidienne en Côte d’Ivoire: Procès d’occidentalisation\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EKarthala\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La civilisation quotidienne en Côte d’Ivoire: Procès d’occidentalisation' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+civilisation+quotidienne+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Proc%C3%A8s+d%E2%80%99occidentalisation&author=Tour%C3%A9+A.&publication+year=1981\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+civilisation+quotidienne+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Proc%C3%A8s+d%E2%80%99occidentalisation&author=Tour%C3%A9+A.&publication+year=1981",openUrlParams:{genre:f,btitle:cS,title:cS,aulast:a,aufirst:a,au:a,pub:z,date:bl,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n3fad0425dff8cdec",title:cS,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-200",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ETraoré\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ER.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1986\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003ELa distribution cinématographique en Côte d’Ivoire\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ECommunication Audiovisuelle\u003C\u002Fspan\u003E, No. \u003Cspan class=\"volume\"\u003E6\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E195\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E225\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La distribution cinématographique en Côte d’Ivoire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+distribution+cin%C3%A9matographique+en+C%C3%B4te+d%E2%80%99Ivoire&author=Traor%C3%A9+R.&publication+year=1986&journal=Communication+Audiovisuelle&volume=6&pages=195-225\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+distribution+cin%C3%A9matographique+en+C%C3%B4te+d%E2%80%99Ivoire&author=Traor%C3%A9+R.&publication+year=1986&journal=Communication+Audiovisuelle&volume=6&pages=195-225",openUrlParams:{genre:h,atitle:fV,jtitle:fW,title:fW,volume:ab,artnum:"67447dca21c8183ee4eb27ee",spage:"195",epage:"225",date:r,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n972719d51cf8ecc4",title:fV,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-201",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ETudesq\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.-J.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2002\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EL’Afrique parle, l’Afrique écoute: Les radios en Afrique subsaharienne\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EKarthala\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for L’Afrique parle, l’Afrique écoute: Les radios en Afrique subsaharienne' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99Afrique+parle%2C+l%E2%80%99Afrique+%C3%A9coute%3A+Les+radios+en+Afrique+subsaharienne&author=Tudesq+A.-J.&publication+year=2002\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99Afrique+parle%2C+l%E2%80%99Afrique+%C3%A9coute%3A+Les+radios+en+Afrique+subsaharienne&author=Tudesq+A.-J.&publication+year=2002",openUrlParams:{genre:f,btitle:cT,title:cT,aulast:a,aufirst:a,au:a,pub:z,date:G,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n485f74322d3837f6",title:cT,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-202",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ETudesq\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.-J.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1999\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELes médias en Afrique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EEllipses\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les médias en Afrique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+m%C3%A9dias+en+Afrique&author=Tudesq+A.-J.&publication+year=1999\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+m%C3%A9dias+en+Afrique&author=Tudesq+A.-J.&publication+year=1999",openUrlParams:{genre:f,btitle:cU,title:cU,aulast:a,aufirst:a,au:a,pub:"Ellipses",date:v,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nafd149e36a38572e",title:cU,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-203",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ETudesq\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.-J.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1998\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EJournaux et radios d’Afrique aux XIXe et XXe siècles\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EGRET\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Journaux et radios d’Afrique aux XIXe et XXe siècles' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Journaux+et+radios+d%E2%80%99Afrique+aux+XIXe+et+XXe+si%C3%A8cles&author=Tudesq+A.-J.&publication+year=1998\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Journaux+et+radios+d%E2%80%99Afrique+aux+XIXe+et+XXe+si%C3%A8cles&author=Tudesq+A.-J.&publication+year=1998",openUrlParams:{genre:f,btitle:cV,title:cV,aulast:a,aufirst:a,au:a,pub:"GRET",date:I,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nd47a61e69358723b",title:cV,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-204",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ETurner\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EV.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1988\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EThe Anthropology of Performance\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003ENew York\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPAJ Publications\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for The Anthropology of Performance' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+Anthropology+of+Performance&author=Turner+V.&publication+year=1988\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+Anthropology+of+Performance&author=Turner+V.&publication+year=1988",openUrlParams:{genre:f,btitle:cW,title:cW,aulast:a,aufirst:a,au:a,pub:"PAJ Publications",date:K,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n2bfc7a97d0599513",title:cW,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-205",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003ETurner\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EV.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, 1969[\u003Cspan class=\"year\"\u003E1997\u003C\u002Fspan\u003E], \u003Cspan class=\"source\"\u003EThe Ritual Process: Structure and Anti-structure\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ENew Brunswick-London, Aldine Transaction\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for The Ritual Process: Structure and Anti-structure' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+Ritual+Process%3A+Structure+and+Anti-structure&author=Turner+V.&publication+year=1997\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+Ritual+Process%3A+Structure+and+Anti-structure&author=Turner+V.&publication+year=1997",openUrlParams:{genre:f,btitle:cX,title:cX,aulast:a,aufirst:a,au:a,pub:"New Brunswick-London, Aldine Transaction",date:L,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n83764c471159b44b",title:cX,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-206",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EVan Gennep\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1909\u003C\u002Fspan\u003E[1981], \u003Cspan class=\"source\"\u003ELes rites de passage: Étude systématique des rites\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPicard\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Les rites de passage: Étude systématique des rites' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+rites+de+passage%3A+%C3%89tude+syst%C3%A9matique+des+rites&author=Van+Gennep+A.&publication+year=1909\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Les+rites+de+passage%3A+%C3%89tude+syst%C3%A9matique+des+rites&author=Van+Gennep+A.&publication+year=1909",openUrlParams:{genre:f,btitle:cY,title:cY,aulast:a,aufirst:a,au:a,pub:"Picard",date:"1909",tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n4df9e2ae7639ab8e",title:cY,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-207",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EVian\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EB.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1958\u003C\u002Fspan\u003E[1997], \u003Cspan class=\"source\"\u003EEn avant la zizique\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, Le livre de poche.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for En avant la zizique' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=En+avant+la+zizique&author=Vian+B.&publication+year=1958\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=En+avant+la+zizique&author=Vian+B.&publication+year=1958",openUrlParams:{genre:f,btitle:cZ,title:cZ,aulast:a,aufirst:a,au:a,pub:c,date:eV,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-na573f45fb739cae6",title:cZ,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-208",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EVidal\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2002\u003C\u002Fspan\u003E, ‘Abidjan, ville-monde (1957–2000)’, \u003Cem class=\"italic\"\u003ELes temps modernes\u003C\u002Fem\u003E 2002\u002F4–5, Nos. 620–621, pp. \u003Cspan class=\"fpage\"\u003E463\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E479\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Vidal, C., 2002, ‘Abidjan, ville-monde (1957–2000)’, Les temps modernes 2002\u002F4–5, Nos. 620–621, pp. 463–479.' href=https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fltm.620.0463\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Vidal, C., 2002, ‘Abidjan, ville-monde (1957–2000)’, Les temps modernes 2002\u002F4–5, Nos. 620–621, pp. 463–479.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Vidal,+C.,+2002,+‘Abidjan,+ville-monde+(1957–2000)’,+Les+temps+modernes+2002\u002F4–5,+Nos.+620–621,+pp.+463–479.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Vidal,+C.,+2002,+‘Abidjan,+ville-monde+(1957–2000)’,+Les+temps+modernes+2002\u002F4–5,+Nos.+620–621,+pp.+463–479.",openUrlParams:{genre:k,date:G,sid:d,title:c},innerRefId:"auto_ref-n26199f3714ee5a32",title:"Vidal, C., 2002, ‘Abidjan, ville-monde (1957–2000)’, Les temps modernes 2002\u002F4–5, Nos. 620–621, pp. 463–479.",doi:"10.3917\u002Fltm.620.0463",crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.3917\u002Fltm.620.0463",pubMedLink:a}]},{id:"REFe-r-209",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EVidal\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1992\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ESociologie des passions: Rwanda, Côte d’Ivoire\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EKarthala\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Sociologie des passions: Rwanda, Côte d’Ivoire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Sociologie+des+passions%3A+Rwanda%2C+C%C3%B4te+d%E2%80%99Ivoire&author=Vidal+C.&publication+year=1992\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Sociologie+des+passions%3A+Rwanda%2C+C%C3%B4te+d%E2%80%99Ivoire&author=Vidal+C.&publication+year=1992",openUrlParams:{genre:f,btitle:c_,title:c_,aulast:a,aufirst:a,au:a,pub:z,date:m,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nc7789c564d190111",title:c_,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-210",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EVergès\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EG.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2018\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EMagic System: Le mystère 1\u003Csup class=\"sup\"\u003Eer\u003C\u002Fsup\u003E Gaou\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ELes éditions du Panthéon\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Magic System: Le mystère 1er Gaou' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Magic+System%3A+Le+myst%C3%A8re+1er+Gaou&author=Verg%C3%A8s+G.&publication+year=2018\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Magic+System%3A+Le+myst%C3%A8re+1er+Gaou&author=Verg%C3%A8s+G.&publication+year=2018",openUrlParams:{genre:f,btitle:c$,title:c$,aulast:a,aufirst:a,au:a,pub:"Les éditions du Panthéon",date:q,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n5ef171078a192049",title:c$,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-211",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWarnier\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.-P.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2007\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003ELa mondialisation de la culture\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003ELa Découverte\u003C\u002Fspan\u003E, \u003Cspan class=\"edition\"\u003E4th\u003C\u002Fspan\u003E ed.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La mondialisation de la culture' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+mondialisation+de+la+culture&author=Warnier+J.-P.&publication+year=2007\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+mondialisation+de+la+culture&author=Warnier+J.-P.&publication+year=2007",openUrlParams:{genre:f,btitle:da,title:da,aulast:a,aufirst:a,au:a,pub:aK,date:l,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n431b891ab3394f46",title:da,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-212",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWarnier\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJ.-P.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1994\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EIntroduction: Six objets en quête d’authenticité\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003ELe paradoxe de la marchandise authentique: Imaginaire et consommation de masse\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWarnier\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EJean-Pierre\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E11\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E34\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le paradoxe de la marchandise authentique: Imaginaire et consommation de masse' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+paradoxe+de+la+marchandise+authentique%3A+Imaginaire+et+consommation+de+masse&author=Warnier+J.-P.&author=Warnier+Jean-Pierre&publication+year=1994&pages=11-34\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+paradoxe+de+la+marchandise+authentique%3A+Imaginaire+et+consommation+de+masse&author=Warnier+J.-P.&author=Warnier+Jean-Pierre&publication+year=1994&pages=11-34",openUrlParams:{genre:i,btitle:db,title:db,atitle:"Introduction: Six objets en quête d’authenticité",aulast:a,aufirst:a,au:a,pub:c,date:aA,spage:$,epage:fX,doi:a,sid:d},innerRefId:"auto_ref-n77aca11dd8596a53",title:db,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-213",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWaterman\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC. A.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1990\u003C\u002Fspan\u003E, ‘“Our tradition is a very modern tradition”: Popular music and the construction of Pan Yoruba identity’, \u003Cspan class=\"source\"\u003EEthnomusicology\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E34\u003C\u002Fspan\u003E, No. \u003Cspan class=\"issue\"\u003E3\u003C\u002Fspan\u003E (autumn), pp. \u003Cspan class=\"fpage\"\u003E367\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E379\u003C\u002Fspan\u003E, \u003Ca class=\"uri\" href=\"http:\u002F\u002Fwww.jstor.org\u002Fstable\u002F851623\"\u003Ewww.jstor.org\u002Fstable\u002F851623\u003C\u002Fa\u003E, accessed 26\u002F06\u002F2014 23:42.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Waterman, C. A., 1990, ‘“Our tradition is a very modern tradition”: Popular music and the construction of Pan Yoruba identity’, Ethnomusicology, Vol. 34, No. 3 (autumn), pp. 367–379, www.jstor.org\u002Fstable\u002F851623, accessed 26\u002F06\u002F2014 23:42.' href=https:\u002F\u002Fdx.doi.org\u002F10.2307\u002F851623\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Waterman, C. A., 1990, ‘“Our tradition is a very modern tradition”: Popular music and the construction of Pan Yoruba identity’, Ethnomusicology, Vol. 34, No. 3 (autumn), pp. 367–379, www.jstor.org\u002Fstable\u002F851623, accessed 26\u002F06\u002F2014 23:42.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Waterman,+C.+A.,+1990,+‘“Our+tradition+is+a+very+modern+tradition”:+Popular+music+and+the+construction+of+Pan+Yoruba+identity’,+Ethnomusicology,+Vol.+34,+No.+3+(autumn),+pp.+367–379,+www.jstor.org\u002Fstable\u002F851623,+accessed+26\u002F06\u002F2014+23:42.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Waterman,+C.+A.,+1990,+‘“Our+tradition+is+a+very+modern+tradition”:+Popular+music+and+the+construction+of+Pan+Yoruba+identity’,+Ethnomusicology,+Vol.+34,+No.+3+(autumn),+pp.+367–379,+www.jstor.org\u002Fstable\u002F851623,+accessed+26\u002F06\u002F2014+23:42.",openUrlParams:{genre:h,atitle:c,jtitle:fY,title:fY,volume:fX,artnum:"67447dcb21c8183ee4eb27fb",spage:"367",epage:"379",date:ct,sid:d,aulast:a,aufirst:a,doi:fZ,au:a},innerRefId:"auto_ref-ne62dd80ab6cf150d",title:"Waterman, C. A., 1990, ‘“Our tradition is a very modern tradition”: Popular music and the construction of Pan Yoruba identity’, Ethnomusicology, Vol. 34, No. 3 (autumn), pp. 367–379, www.jstor.org\u002Fstable\u002F851623, accessed 26\u002F06\u002F2014 23:42.",doi:fZ,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.2307\u002F851623",pubMedLink:a}]},{id:"REFe-r-214",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWeaver\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EW.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1949\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003ERecent contributions to the mathematical theory of communication\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003EThe Mathematical Theory of Communication\u003C\u002Fspan\u003E. \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EShannon\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EClaude\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E & \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWeaver\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EWarren\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Eds.), pp. \u003Cspan class=\"fpage\"\u003E94\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E117\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EUrbana, The University of Illinois Press.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for The Mathematical Theory of Communication' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+Mathematical+Theory+of+Communication&author=Weaver+W.&author=Shannon+Claude&author=Weaver+Warren&publication+year=1949&pages=94-117\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=The+Mathematical+Theory+of+Communication&author=Weaver+W.&author=Shannon+Claude&author=Weaver+Warren&publication+year=1949&pages=94-117",openUrlParams:{genre:i,btitle:dc,title:dc,atitle:"Recent contributions to the mathematical theory of communication",aulast:a,aufirst:a,au:a,pub:"Urbana, The University of Illinois Press.",date:"1949",spage:fN,epage:"117",doi:a,sid:d},innerRefId:"auto_ref-nbe31612fa75acfdb",title:dc,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-215",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWeber\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EM.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1971\u003C\u002Fspan\u003E[1995], \u003Cspan class=\"source\"\u003EEconomie et société 1: Les catégories de la société\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EParis, Plon-Pocket, coll. Agora.\u003C\u002Fspan\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Economie et société 1: Les catégories de la société' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Economie+et+soci%C3%A9t%C3%A9+1%3A+Les+cat%C3%A9gories+de+la+soci%C3%A9t%C3%A9&author=Weber+M.&publication+year=1971\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Economie+et+soci%C3%A9t%C3%A9+1%3A+Les+cat%C3%A9gories+de+la+soci%C3%A9t%C3%A9&author=Weber+M.&publication+year=1971",openUrlParams:{genre:f,btitle:dd,title:dd,aulast:a,aufirst:a,au:a,pub:"Paris, Plon-Pocket, coll. Agora.",date:f_,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nd03e09263d3a0276",title:dd,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-216",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWinkin\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EY.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2001\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EAnthropologie de la communication: De la théorie au terrain\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EParis, Seuil, coll. Points Essais\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Anthropologie de la communication: De la théorie au terrain' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Anthropologie+de+la+communication%3A+De+la+th%C3%A9orie+au+terrain&author=Winkin+Y.&publication+year=2001\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Anthropologie+de+la+communication%3A+De+la+th%C3%A9orie+au+terrain&author=Winkin+Y.&publication+year=2001",openUrlParams:{genre:f,btitle:de,title:de,aulast:a,aufirst:a,au:a,pub:"Paris, Seuil, coll. Points Essais",date:O,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-n50c4b01f9ae09582",title:de,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-217",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWolikow\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003ES.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1998\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EL’histoire du temps présent en question\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003ETerritoires contemporains\u003Cem class=\"italic\"\u003E, special\u003C\u002Fem\u003E\u003C\u002Fspan\u003E issue no. \u003Cspan class=\"volume\"\u003E5\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E9\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E24\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for L’histoire du temps présent en question' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99histoire+du+temps+pr%C3%A9sent+en+question&author=Wolikow+S.&publication+year=1998&journal=Territoires+contemporains%2C+special&volume=5&pages=9-24\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=L%E2%80%99histoire+du+temps+pr%C3%A9sent+en+question&author=Wolikow+S.&publication+year=1998&journal=Territoires+contemporains%2C+special&volume=5&pages=9-24",openUrlParams:{genre:h,atitle:f$,jtitle:ga,title:ga,volume:N,artnum:"67447dcb21c8183ee4eb27ff",spage:Q,epage:gb,date:I,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n1b4e4766f3c088c5",title:f$,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-218",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWondji\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1986\u003C\u002Fspan\u003Ea, ‘\u003Cspan class=\"chapter-title\"\u003EChanson et culture populaire en Côte d’Ivoire\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003ELa musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWondji\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EChristophe\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPrésence Africaine\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E11\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E24\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=Wondji+C.&author=Wondji+Christophe&publication+year=1986&pages=11-24\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=Wondji+C.&author=Wondji+Christophe&publication+year=1986&pages=11-24",openUrlParams:{genre:i,btitle:o,title:o,atitle:"Chanson et culture populaire en Côte d’Ivoire",aulast:a,aufirst:a,au:a,pub:X,date:r,spage:$,epage:gb,doi:a,sid:d},innerRefId:"auto_ref-n69f6e015e820dfec",title:o,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-219",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWondji\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EC.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1986\u003C\u002Fspan\u003Eb, ‘\u003Cspan class=\"source\"\u003E\u003Cem class=\"italic\"\u003ELe bagnon et l’art’, in\u003C\u002Fem\u003E La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EWondji\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EChristophe\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-loc\"\u003EParis\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-name\"\u003EPrésence Africaine\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E42\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E83\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Le bagnon et l’art’, in La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+bagnon+et+l%E2%80%99art%E2%80%99%2C+in+La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=Wondji+C.&author=Wondji+Christophe&publication+year=1986&pages=42-83\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Le+bagnon+et+l%E2%80%99art%E2%80%99%2C+in+La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=Wondji+C.&author=Wondji+Christophe&publication+year=1986&pages=42-83",openUrlParams:{genre:f,btitle:df,title:df,aulast:a,aufirst:a,au:a,pub:X,date:r,tpages:"83",doi:a,sid:d},innerRefId:"auto_ref-nb5065e54aef5427b",title:df,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-220",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"page-marker\"\u003E\u003C\u002Fspan\u003E\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EYapi Diahou\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EA.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2000\u003C\u002Fspan\u003E, \u003Cspan class=\"source\"\u003EBaraques et développement dans l’agglomération d’Abidjan\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EParis, L’Harmattan\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Baraques et développement dans l’agglomération d’Abidjan' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Baraques+et+d%C3%A9veloppement+dans+l%E2%80%99agglom%C3%A9ration+d%E2%80%99Abidjan&author=Yapi+Diahou+A.&publication+year=2000\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Baraques+et+d%C3%A9veloppement+dans+l%E2%80%99agglom%C3%A9ration+d%E2%80%99Abidjan&author=Yapi+Diahou+A.&publication+year=2000",openUrlParams:{genre:f,btitle:dg,title:dg,aulast:a,aufirst:a,au:a,pub:c,date:_,tpages:c,doi:a,sid:d},innerRefId:"auto_ref-nf09797ab64bbc8ca",title:dg,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-221",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EZadi\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EZ. B.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1990\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"article-title\"\u003EIntroduction à la connaissance de la poésie orale de Côte d’Ivoire\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EAnnales de l’Université d’Abidjan: Traditions orales\u003C\u002Fspan\u003E, Vol. \u003Cspan class=\"volume\"\u003E5\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E5\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E44\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Introduction à la connaissance de la poésie orale de Côte d’Ivoire' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Introduction+%C3%A0+la+connaissance+de+la+po%C3%A9sie+orale+de+C%C3%B4te+d%E2%80%99Ivoire&author=Zadi+Z.+B.&publication+year=1990&journal=Annales+de+l%E2%80%99Universit%C3%A9+d%E2%80%99Abidjan%3A+Traditions+orales&volume=5&pages=5-44\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Introduction+%C3%A0+la+connaissance+de+la+po%C3%A9sie+orale+de+C%C3%B4te+d%E2%80%99Ivoire&author=Zadi+Z.+B.&publication+year=1990&journal=Annales+de+l%E2%80%99Universit%C3%A9+d%E2%80%99Abidjan%3A+Traditions+orales&volume=5&pages=5-44",openUrlParams:{genre:h,atitle:gc,jtitle:gd,title:gd,volume:N,artnum:"67447dcb21c8183ee4eb2803",spage:N,epage:"44",date:ct,sid:d,aulast:a,aufirst:a,doi:a,au:a},innerRefId:"auto_ref-n48286944a5bbe822",title:gc,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-222",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EZadi\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EZ. B.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1977\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003ERegard sur l’œuvre poétique de Nahounou Digbeu (Amédée Pierre)\u003C\u002Fspan\u003E’, \u003Cspan class=\"source\"\u003EBissa: Revue Littéraire Orale,\u003C\u002Fspan\u003E No. \u003Cspan class=\"volume\"\u003E6\u003C\u002Fspan\u003E, \u003Cspan class=\"publisher-loc\"\u003EAbidjan, GRTO\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Bissa: Revue Littéraire Orale,' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Bissa%3A+Revue+Litt%C3%A9raire+Orale%2C&author=Zadi+Z.+B.&publication+year=1977\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Bissa%3A+Revue+Litt%C3%A9raire+Orale%2C&author=Zadi+Z.+B.&publication+year=1977",openUrlParams:{genre:i,btitle:dh,title:dh,atitle:"Regard sur l’œuvre poétique de Nahounou Digbeu (Amédée Pierre)",aulast:a,aufirst:a,au:a,pub:c,date:em,spage:c,epage:c,doi:a,sid:d},innerRefId:"auto_ref-n941c7a1b2fb32d4",title:dh,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-223",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EZang Zang\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2018\u003C\u002Fspan\u003E, ‘\u003Cspan class=\"chapter-title\"\u003EDu français en Afrique au(x) français d’Afrique: Quel(s) parcours?\u003C\u002Fspan\u003E’, in \u003Cspan class=\"source\"\u003EAspects linguistiques et sociolinguistiques des français africains\u003C\u002Fspan\u003E, \u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EFloquet\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EOreste\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E (Ed.), \u003Cspan class=\"publisher-name\"\u003ERoma, Sapientia Università Editrice\u003C\u002Fspan\u003E, pp. \u003Cspan class=\"fpage\"\u003E1\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E20\u003C\u002Fspan\u003E.\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Aspects linguistiques et sociolinguistiques des français africains' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Aspects+linguistiques+et+sociolinguistiques+des+fran%C3%A7ais+africains&author=Zang+Zang+P.&author=Floquet+Oreste&publication+year=2018&pages=1-20\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Aspects+linguistiques+et+sociolinguistiques+des+fran%C3%A7ais+africains&author=Zang+Zang+P.&author=Floquet+Oreste&publication+year=2018&pages=1-20",openUrlParams:{genre:i,btitle:di,title:di,atitle:"Du français en Afrique au(x) français d’Afrique: Quel(s) parcours?",aulast:a,aufirst:a,au:a,pub:"Roma, Sapientia Università Editrice",date:q,spage:s,epage:"20",doi:a,sid:d},innerRefId:"auto_ref-n3dea1fa4db1b5e21",title:di,doi:a,crossRefLink:a,pubMedLink:a}]},{id:"REFe-r-224",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EZeleza\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EP. T.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E2005\u003C\u002Fspan\u003E, ‘The academic diaspora and knowledge production in and on Africa: What role for CODESRIA?’, in \u003Cem class=\"italic\"\u003EAfrican Intellectuals: Rethinking Politics, Language, Gender and Development\u003C\u002Fem\u003E. Thandika Mkandawire (Ed.), pp. \u003Cspan class=\"fpage\"\u003E209\u003C\u002Fspan\u003E–\u003Cspan class=\"lpage\"\u003E234\u003C\u002Fspan\u003E. Dakar, CODESRIA\u002FZed Books.\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Zeleza, P. T., 2005, ‘The academic diaspora and knowledge production in and on Africa: What role for CODESRIA?’, in African Intellectuals: Rethinking Politics, Language, Gender and Development. Thandika Mkandawire (Ed.), pp. 209–234. Dakar, CODESRIA\u002FZed Books.' href=https:\u002F\u002Fdx.doi.org\u002F10.5040\u002F9781350218147.ch-010\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Zeleza, P. T., 2005, ‘The academic diaspora and knowledge production in and on Africa: What role for CODESRIA?’, in African Intellectuals: Rethinking Politics, Language, Gender and Development. Thandika Mkandawire (Ed.), pp. 209–234. Dakar, CODESRIA\u002FZed Books.' href=https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Zeleza,+P.+T.,+2005,+‘The+academic+diaspora+and+knowledge+production+in+and+on+Africa:+What+role+for+CODESRIA?’,+in+African+Intellectuals:+Rethinking+Politics,+Language,+Gender+and+Development.+Thandika+Mkandawire+(Ed.),+pp.+209–234.+Dakar,+CODESRIA\u002FZed+Books.\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar?q=Zeleza,+P.+T.,+2005,+‘The+academic+diaspora+and+knowledge+production+in+and+on+Africa:+What+role+for+CODESRIA?’,+in+African+Intellectuals:+Rethinking+Politics,+Language,+Gender+and+Development.+Thandika+Mkandawire+(Ed.),+pp.+209–234.+Dakar,+CODESRIA\u002FZed+Books.",openUrlParams:{genre:k,date:t,sid:d,title:c},innerRefId:"auto_ref-nac6b1691a981d89b",title:"Zeleza, P. T., 2005, ‘The academic diaspora and knowledge production in and on Africa: What role for CODESRIA?’, in African Intellectuals: Rethinking Politics, Language, Gender and Development. Thandika Mkandawire (Ed.), pp. 209–234. Dakar, CODESRIA\u002FZed Books.",doi:"10.5040\u002F9781350218147.ch-010",crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.5040\u002F9781350218147.ch-010",pubMedLink:a}]},{id:"REFe-r-225",displayNumber:a,existInContent:b,content:"\u003Cspan class=\"string-name\"\u003E\u003Cspan class=\"surname\"\u003EZemp\u003C\u002Fspan\u003E, \u003Cspan class=\"given-names\"\u003EH.\u003C\u002Fspan\u003E\u003C\u002Fspan\u003E, \u003Cspan class=\"year\"\u003E1971\u003C\u002Fspan\u003E[2012], \u003Cspan class=\"source\"\u003EMusique Dan: Music in the Thought and Social Life of an African Society\u003C\u002Fspan\u003E, Berlin, De Gruyter, digital reprint (\u003Cspan class=\"publisher-loc\"\u003Eoriginal\u003C\u002Fspan\u003E: \u003Cspan class=\"publisher-name\"\u003EParis-La Haye, Mouton-EPHE\u003C\u002Fspan\u003E).\u003Ca class='ref-link' target='_blank' aria-label='CrossRef link for Musique Dan: Music in the Thought and Social Life of an African Society' href=https:\u002F\u002Fdx.doi.org\u002F10.1515\u002F9783110800210\u003ECrossRef\u003C\u002Fa\u003E\u003Ca class='ref-link' target='_blank' aria-label='Google Scholar link for Musique Dan: Music in the Thought and Social Life of an African Society' href=https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Musique+Dan%3A+Music+in+the+Thought+and+Social+Life+of+an+African+Society&author=Zemp+H.&publication+year=1971\u003EGoogle Scholar\u003C\u002Fa\u003E",item:[{googleScholarLink:"https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=Musique+Dan%3A+Music+in+the+Thought+and+Social+Life+of+an+African+Society&author=Zemp+H.&publication+year=1971",openUrlParams:{genre:f,btitle:dj,title:dj,aulast:a,aufirst:a,au:a,pub:"Paris-La Haye, Mouton-EPHE",date:f_,tpages:c,doi:ge,sid:d},innerRefId:"auto_ref-n4d4a17b0eebc8ffa",title:dj,doi:ge,crossRefLink:"https:\u002F\u002Fdx.doi.org\u002F10.1515\u002F9783110800210",pubMedLink:a}]}],hasBibliography:e},pdf:{standardResolution:{fileUrl:"\u002Fcore\u002Fservices\u002Faop-cambridge-core\u002Fcontent\u002Fview\u002FE8A1EAEE4FB07A976F3F5BA276E6339C\u002F9781009469180AR.pdf\u002Fheritage-and-transformation-of-an-african-popular-music.pdf",fileSizeInMb:2,articleTitle:ac,slugTitle:"heritage-and-transformation-of-an-african-popular-music"},highResolution:c,media:c},summary:"Modern popular music is closely linked to the 'traditional' heritage – intangible and material – of which artist-musicians have, in a way, usufruct. This Element examines the relationship between (cultural) heritage and the transformation of popular music in Côte d'Ivoire. It views heritage from a dynamic and innovative perspective as a constantly evolving reality, informed by a multitude of encounters, both local and global. It frees itself from the sectoralization and disciplinary impermeability of the sector – in places of music performance to understand how the artistic-musical heritage is transmitted, imagined and managed and the complex process of transformation of popular music in which it registers. It appears that heritage, far from being frozen in time, is rather activated, deactivated and reactivated according to the creative imagination. In addition, the work highlights a minor aspect of the heritage subsumed in popular intellectuality at work in popular music.",settings:{hasAccess:b,isOpenAccess:e,isAnnotationsEnabled:e,isMathjaxEnabled:b},ecommerceProducts:{digitalSku:"2800532595",paperBackSku:"2700242940",hardBackSku:"2700242941"},isPublished:b,series:{title:gf,link:gg},citationCount:gh,openUrlParams:"?genre=unknown&date=2024-11-26T00%3A05%3A14.322Z&sid=https%3A%2F%2Fwww.cambridge.org&title=Heritage%20and%20Transformation%20of%20an%20African%20Popular%20Music"},breadcrumbs:[{name:"Home",url:"\u002Fcore"},{name:"Cambridge Elements",url:"\u002Fcore\u002Fpublications\u002Felements"},{name:gf,url:gg},{name:ac}],lang:"en",coreCmsConfig:{shouldUseShareProductTool:b,shouldUseHypothesis:b,isUnsiloEnabled:b},debugHostName:"page-component-586b7cd67f-t7czq",debugTotalLoadingTime:gh,debugRenderDate:"2024-11-26T12:14:08.006Z",debugHasDataIssue:e,debugHasContentIssue:e}],fetch:{},error:c,state:{errors:{hasAnyIssue:e,hasContentIssue:e},tabs:{supportedTabs:[],currentTab:a,stickyTabsEnabled:e},unleash:{repo:[{name:"useOrcidAuthorSync",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"EnableLogObfuscation",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"HE.useDefaultDigitalCopy",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"wayf.newGlobalHeader.showDiscoveryTool",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"CorePageComponentUseNewCombobox",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"HE.newCitationApi",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"HE.loadSupMatFolderMetrics",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"EnableJmsMessagesPolling",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"UseSocialShareButton",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"UseBlog",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"HE.useStudyLevels",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"useNewGlobalHeader",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"wayf.newGlobalHeader",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"authentication.useNewGlobalHeader",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"HE.platformHeader-micro-ui",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"DT.newGlobalHeader",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"checkout.useNewGlobalHeaderUrl",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"checkout.newGlobalHeader.showDiscoveryTool",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"showSearchDashboardVersionAndPublishedDate",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"CorePageComponentGetUserInfoFromSharedSession",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"UseB2bPages",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"CoreDisplayKBARTAutomation",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"HE.useQuickAccessPanel",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"CoreDisplayResearchOpen",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"EnableInternalJournalsSqsPolling",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"sendEmailsToTargetRecipients",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"EnableFirstProcessReminderPolling",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"he.resourcesWidgetLandingPage",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"HE.useNewTitlesSections",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"EnableContinueProcessReminderPolling",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"CoreUseCitationToolApi",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"EnableSecondProcessReminderPolling",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"CoreUseKbartMetafile",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"shoppingCart.newGlobalHeader.showDiscoveryTool",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"EnableInternalArticlesSqsPolling",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"CoreDisplayGlobalHeader",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"checkout.newGlobalHeader",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"UseKeycloakAuth",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"Ecommerce",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"UseGroupBooking",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"CoreUseOmnichannel",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"EnableZendeskRedirects",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"EnablePostPaymentEnrolment",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"authentication.useNewGlobalHeader.showDiscoveryTool",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"DisableEduframe",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"DT.useUsageEvents",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"showSearchDashboardSortDropdown",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"car-sup-mats",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"HE.useFixedLoginUrl",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"UsePayPalPayment",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"HE.NewReadAsGuestPopup",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"cart.useNewGlobalHeaderUrl",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"UseCourseWelcomeEmail",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"HE.Omnichannel",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"EnableInternalArticlesPostProcessingSqsPolling",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"homsy.Omnichannel",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"HE.verifySalesforceApiKey",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"UsePayByQuote",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"EnableEmailMessagesSqsPolling",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"HE.useRedesignedPill",enabled:b,variant:{name:g,enabled:e},impressionData:e},{name:"CoreUseNewCms",enabled:b,variant:{name:g,enabled:e},impressionData:e}]},i18n:{routeParams:{}}},serverRendered:b,routePath:"\u002Fcore\u002Felements\u002FelementTitle\u002FE8A1EAEE4FB07A976F3F5BA276E6339C",config:{assetsService:"https:\u002F\u002Fstatic.cambridge.org",publicApi:"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Fpage-component\u002Fapi\u002Fv2",domainUrl:d,shibbolethUrl:"https:\u002F\u002Fshibboleth.cambridge.org",seamlessAccessPs:"https:\u002F\u002Fservice.seamlessaccess.org\u002Fps\u002F",seamlessAccessContext:"seamlessaccess.org",shareaholicScript:"https:\u002F\u002Fcdn.shareaholic.net\u002Fassets\u002Fpub\u002Fshareaholic.js",shareaholicSiteId:"b60ec523a5bee2ad04c630bf0d3aa388",shareaholicAppId:33113081,unleashProxyUrl:"https:\u002F\u002Fcore-features.cambridge.org\u002Fproxy",unleashProxyClientKey:"B43LrdgqNKlNsaHfVzQ7l78gkVH0K7tf",cloudflareAuth:a,_app:{basePath:"\u002F",assetsPath:"\u002Fcore\u002Fpage-component\u002F",cdnURL:c}}}}("",true,null,"https:\u002F\u002Fwww.cambridge.org",false,"book","disabled","article","chapter",1,"unknown","2007","1992","Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook","La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel","Copyright Africa: How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods","2018","1986","1","2005","2010","1999","1985","2015","2009","Karthala","2020","Le Singe Musicien: Sémiologie et anthropologie de la musique","Indigenous Knowledge Systems and Intellectual Property in the Twenty-First Century: Perspectives from Southern Africa","Introduction aux méthodologies de l’imaginaire","3","2016","2002","2013","1998","2008","1988","1997","2003","5","2001","Seuil","9","4","Oxford University Press","Présence africaine","1984","1993","7","Présence Africaine","27","1991","2000","11","Journal of Asian and African Studies","6","Heritage and Transformation of an African Popular Music","Introduction","Philosophie de la nouvelle musique","The African Imagination in Music","Playing with Identities in Contemporary Music in Africa","Intellectuels populaires: Un paradoxe créatif","17","L’imaginaire national","Après le colonialisme: Les conséquences culturelles de la globalisation","La crise de la culture","The Poetics","Why Are We So Blest?","2017","Non-lieux. Introduction à une anthropologie de la surmodernité","Amédée Pierre, le dopé national, grand maître de la parole","Sempervira","12","Il n’y a pas de crocodiles à Cocody: Anthropologie de la communication musicale en Côte d’Ivoire","2021","L’ivoirité mouvementée: Jeunes, médias et politique en Côte d’Ivoire","Côte d’Ivoire: La réinvention de soi dans la violence","2011","45","Narration, traditions et modernité dans le discours filmique de Comment ça va? une émission de la Télévision Ivoirienne,","1994","Sociologie des Brazzavilles noires","Anthropo-logiques","Afrique ambiguë","A History of African Popular Culture","Mythologies","39","Les mutuelles de développement en Côte d’Ivoire: Idéologie de l’origine et modernisation villageoise","2014","Comment parler de la société: Artistes, écrivains, chercheurs et représentations sociales","La Découverte","Les mondes de l’art","Cinquante ans de musique du Congo-Zaïre, 1920–1970: De Paul Kamba à Tabu-Ley","Quel est l’objet de l’art?’","La sorcellerie n’existe pas","Coupé décalé: Sens d’un genre musical en Afrique","Universalisation et différenciation des modèles culturels","Méditations pascaliennes","Les règles de l’art: Genèse et structure du champ littéraire","Questions de sociologie","Minuit","Dynamique des français africains: entre le culturel et le linguistique","Tiken Jah Fakoly: l’Afrique ne pleure plus, elle parle","Tiken Jah Fakoly: Quand le reggae s’arrime à la pensée. Tome 1. La pensée universitaire","Tiken Jah Fakoly: Quand le reggae s’arrime à la pensée. Tome 2. Penser et panser l’Afrique","Anthropologie du don: Le tiers paradigme","Gens de la parole: Essai sur la condition du griot dans la société malinké","L’institution imaginaire de la société","Les théories de l’art","Culture et communication: Convergences théoriques et lieux de médiation","La grande geste du Mali: Des origines à la fondation de l’empire","West African Pop Roots","Pour une anthropologie des médias","51","2019","Nature, culture, écriture: La violence de la lettre de Lévi-Strauss à Rousseau","L’épopée de la pop music ivoirienne","La mondialisation","Les médias dans les politiques culturelles africaines: Le cas du MASA en Côte d’Ivoire","1981","Les formes élémentaires de la vie religieuse: Le système totémique en Australie","Fêtes et civilisations, followed by La fête aujourd’hui","La crise du muntu: Authenticité africaine et philosophie","Ville cruelle","Les damnés de la terre","What’s My Name? Black Vernacular Intellectuals","Musiques populaires urbaines et stratégies du refus en Côte d’Ivoire","2012","Le sacre de l’amateur: Sociologie des passions ordinaires à l’ère du numérique","Les industries de l’imaginaire","Poïétique de la création sonore au cinéma: La figure de l’artiste-poïéticien","Les métamorphoses de la crise: Racismes et révolutions au XXe siècle","La sorcellerie: Une réalité vivante en Afrique","The Black Atlantic: Modernité et double conscience","Les conséquences de la modernité","L’imaginé, l’imaginaire & le symbolique","Fêtes urbaines en Afrique: Espaces, identités et pouvoirs","13","Les cadres de l’expérience","Musicologie et développement dans la société ivoirienne","Textes","Arafat DJ: Histoire et légende d’une comète","Identités et cultures: Politique des cultural studies","Amkoulel, l’enfant peul","Introduction à l’esthétique","Les professionnels du disque: Une sociologie des variétés","Introduction: Inventing Traditions’, The Invention of Tradition","2006","La révolte du zouglou en Côte d’Ivoire: 30 ans de revendications (1991–2021)","Didactics of music education: De la théorie à la pratique. Tome","Roots of Black Music: The Vocal, Instrumental and Dance Heritage of Africa and Black America","Villes de Côte d’Ivoire (1893–1940). Tome 2, Économie et société urbaine","Villes de Côte d’Ivoire (1893–1940). Tome 1, La fondation des villes","Le grand livre de la musique ivoirienne, tome 1: Alpha Blondy et la galaxie reggae","Ne cherchez pas à comprendre. Dansez seulement! Le Coupé-Décalé et les jeunes en Côte d’Ivoire","Cahiers d’études africaines","Alpha Blondy: Reggae et société en Afrique noire","Droits de l’homme en arts, littératures et sciences humaines en Afrique","La dynamique des médias dans les sociétés en mutations: Le cas de la Côte d’Ivoire","La conservation et la transcription des œuvres musicales du service des archives de la documentation générale du BURIDA: Enjeux et perspectives","Anthropologie de la chanson congolaise de variétés: Imaginaire, production du sens","Territoires de musiques et cultures urbaines: Rock, rap, techno… l’émergence de la création musicale à l’heure de la mondialisation","Le sens de la ville","Changer la société, refaire de la sociologie","Le maître de la parole: Kouma lafôlô kouma","L’énergie sociale à Abidjan: Économie politique de la ville en Afrique noire, 1930–1995","Anthropologie structurale 2",", Anthropologie structurale","La condition postmoderne","Negotiating Modernity: Africa’s Ambivalent Experience","Le temps des tribus: Le déclin de l’individualisme dans les sociétés de masse","Music and Globalization: Critical Encounters","Le français en république démocratique du Congo: Sous l’ère multipartiste (1991–2006)","Form and Reason of Exchange in Archaic Societies","Les jeunes et l’ordre politique en Afrique noire","XIIIe conférence March Bloch","Qu’est-ce que la philosophie","Afrique: Jeunesses uniques, jeunesse encadrée","Introduction’, African Intellectuals: Rethinking Politics, Language, Gender and Development","Le jeu de l’identité","Sociologie de l’autorité","1990","Sociologie de la culture populaire",", The soundscape: Le monde comme musique","Le drame démocratique africain sur scène en Côte d’Ivoire","La musique dans le débat politique et identitaire en Côte d’Ivoire: Le cas du zouglou","La rumba congolaise: Sa splendeur, ses effluves, ses profondeurs","Soundjata ou l’épopée mandingue","Eating and Being Eaten: Cannibalism as Food for Thought","Arrest the Music! Fela and His Rebel Art and Politics","2004","The Republic","Tango ya ba Wendo","Cinémas des diasporas noires: esthétique de la reconstruction","La pyramide humaine","Moi un noir","Les maîtres fous","Les musiques diffusées dans les lieux publics: Analyse et enjeux de pratiques communicationnelles quotidiennes","Ce que dit la musique africaine","Plaidoyer pour les intellectuels","Performance: Expérimentation et théorie du théâtre aux USA","Between Theatre and Anthropology","Écrits sur la musique: 1924–1956","Domination and the Arts of Resistance: Fragments du discours subalterne","Le Tohourou: Un chemin vers la sagesse","Musique, identité et insertion sociale. Mangue Beat: humus culturel","La civilisation quotidienne en Côte d’Ivoire: Procès d’occidentalisation","L’Afrique parle, l’Afrique écoute: Les radios en Afrique subsaharienne","Les médias en Afrique","Journaux et radios d’Afrique aux XIXe et XXe siècles","The Anthropology of Performance","The Ritual Process: Structure and Anti-structure","Les rites de passage: Étude systématique des rites","En avant la zizique","Sociologie des passions: Rwanda, Côte d’Ivoire","Magic System: Le mystère 1er Gaou","La mondialisation de la culture","Le paradoxe de la marchandise authentique: Imaginaire et consommation de masse","The Mathematical Theory of Communication","Economie et société 1: Les catégories de la société","Anthropologie de la communication: De la théorie au terrain","Le bagnon et l’art’, in La musique populaire en Côte d’Ivoire: Essai sur l’art de Srolou Gabriel","Baraques et développement dans l’agglomération d’Abidjan","Bissa: Revue Littéraire Orale,","Aspects linguistiques et sociolinguistiques des français africains","Musique Dan: Music in the Thought and Social Life of an African Society","Cambridge University Press","Critical Heritage Studies","Africa and her writers","The Massachusetts Review","1962","10.1093\u002Facprof:oso\u002F9780190263201.001.0001","1983","1972","Vivre sa passion et gagner sa vie: Jeunes artistes du sud-ouest de Madagascar à la recherche de notoriété dans la capitale malgache","Afrique et Développement","10.2307\u002Fj.ctvk8vz8w.10","Jeunes et imaginaire de la modernité à Abidjan","Cadernos de estudos africanos","47","La “télé-maquis”: Les images de l’homme ordinaire","En Quête","Les “tambours bâillonnés”: Contrôle et mainmise du pouvoir sur les médias en Côte d’Ivoire’","Media Development","De tous temps, de tous lieux, l’information et la communication","L’Homme","55","10.3917\u002Fscpo.balan.1985.01","Le Livre de Poche","1957","10.1017\u002F9781139061766","Les six paramètres de la métropolisation","Cahiers de la métropolisation","10.1093\u002Foso\u002F9780195069198.003.0005","10.1093\u002Foso\u002F9780195069198.003.0024","Review of [Didier Fassin: Pouvoir et maladie en Afrique. Anthropologie sociale dans la banlieue de Dakar","Anthropologie et Sociétés","253","10.7202\u002F015260ar","251","10.3917\u002Fdec.caill.2007.02","1975","1995","Intellectuels visibles, intellectuels invisibles","Politique Africaine","25","10.3406\u002Fpolaf.1993.5682","41","Musique traditionnelle et développement national en Côte d’Ivoire","Tiers-Monde, Vol. 25","97","109","1966","Canon Pyon, Sean Kingston Publishing","265","Le développement et la question de l’expression “on est en Afrique”. Essai de réflexion psychosociologique sur un facteur idéologique du sous-développement en Afrique","Kasa Bya Kasa: Revue ivoirienne d’anthrolopologie et de sociologie","86","10.3917\u002Fscpo.dollf.2007.01","Reggae, ideologies et luttes émancipatrices en Afrique","Hermès","10.3917\u002Fherm.086.0158","1977","1961","Note on world beat","Public Culture","31","10.1215\u002F08992363-1-1-31","1987","10.3917\u002Fkart.goerg.1999.01.0005","Ô, Kisasa makambo! Métamorphoses et représentations de Kinshasa à travers le discours musical des années 1950–1960","Le Mouvement social","129","10.2307\u002F3779939","Oh rio-Ma! Musique et guerre des sexes à Kinshasa: 1930–1990","Revue Française d’Histoire d’Outre-Mer","10.3406\u002Foutre.1997.3508","L’enquête sociologique, la critique sociale et l’expertise politique","Revue Européenne des Sciences Sociales","10.4000\u002Fress.695","2022","L’art, l’aura et la technique selon Benjamin ou comment devenir célèbre en faisant tant d’erreurs à la fois …","Cahiers de médiologie","10.3917\u002Fcdm.001.0235","10.1093\u002Foso\u002F9780195069198.003.0022","La place des centres urbains dans l’économie de la Côte d’Ivoire de 1920 à 1930","Annales de l’Université d’Abidjan, Série I (Histoire), Tome","10.3917\u002Fdec.latour.2007.01","Reggae, resistance and the State: Television and popular music in Côte d’Ivoire","Critical Studies in Mass Communication","10.1080\u002F15295039509366950","Ivoirian television, willing vector of cultural imperialism","Howard Journal of Communications","10.1080\u002F10646179209359762","Tu sais, on est en Afrique”: Essai d’analyse de séquences discursives orales","Semen","21","1958","Indiana University Press","Actes Sud\u002FINA","70","Journal of African Media Studies","10.1386\u002Fjams_00001_1","52","10.1177\u002F0021909615580867","Potted plants in greenhouses’: A critical reflection on the resilience of the colonial education in Africa","10.1177\u002F0021909611417240","Entertaining repression: Music and politics in postcolonial Cameroon","African Affairs","104","10.1093\u002Fafraf\u002Fadi007","Ce que la téléphonie mobile fait à la musique ouest-africaine. Le projet ZikMali: un nouveau modèle de distribution musicale?","Réseaux","10.3917\u002Fres.219.0071","Le griot dans la société traditionnelle africaine: Patrimoine et survivance d’une conscience d’être et de culture","International Journal of Latest Research in Humanities and Social Sciences (IJLRHSS)","L’influence des Américains noirs sur les Ivoiriens dans la région d’Abidjan (à travers les mass-médias)","Kasa Bya Kasa Revue ivoirienne d’anthropologie et de sociologie No.","La musique islamique en Côte d’Ivoire: Difficultés et conditions d’émergence","Communication en question","22","Il faut rendre à Manu …","Jeune Afrique","Esthétique et poïétique","Filozofski vestnik","Qu’est-ce qu’un héritage? Un enjeu pour le travail social de demain","Empan","A Tribute to William Fagg, April 28, 1914–July 10, 1992","African Arts","L’apprentissage de la ville en Afrique sud-saharienne","Le mouvement social","10.3917\u002Flms.204.0035","Cherchez le peuple… Culture, populaire et politique","Critique internationale","10.3406\u002Fcriti.2000.1571","Communication Audiovisuelle,","Les films de la Pléiade","Journal of Material Culture","10.1177\u002F1359183508090900","The role of memory in the transmission of culture","World Archeology","10.1080\u002F00438243.1993.9980234","10.9783\u002F9780812200928","94","https:\u002F\u002Fscholar.google.com\u002Fscholar_lookup?title=La+musique+populaire+en+C%C3%B4te+d%E2%80%99Ivoire%3A+Essai+sur+l%E2%80%99art+de+Srolou+Gabriel&author=Tap%C3%A9+G.&author=Wondji+Christophe&publication+year=1986&pages=137-157","L’art et l’artiste selon Srolou","137","157","10.1093\u002Foso\u002F9780195069198.003.0023","Masque errant?","Politique africaine","La distribution cinématographique en Côte d’Ivoire","Communication Audiovisuelle","34","Ethnomusicology","10.2307\u002F851623","1971","L’histoire du temps présent en question","Territoires contemporains, special","24","Introduction à la connaissance de la poésie orale de Côte d’Ivoire","Annales de l’Université d’Abidjan: Traditions orales","10.1515\u002F9783110800210","Elements in Critical Heritage Studies","\u002Fcore\u002Fpublications\u002Felements\u002Fcritical-heritage-studie",0));</script><script src="/core/page-component/06cd607.js" defer></script><script src="/core/page-component/20147ec.js" defer></script><script src="/core/page-component/722ace3.js" defer></script><script src="/core/page-component/6f4302c.js" defer></script> </div> </div> <div id="kindleModal" class="reveal-modal large" data-reveal> <div class="header"> <h1 class="heading_07">Save element to Kindle</h1> </div> <div class="panel"> <div class="row"> <div class="large-12 columns margin-bottom"> <p> To save this element to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. <a href="/core/help">Find out more about saving to your Kindle</a>. </p> <p> Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. </p> <p> Find out more about the <a href="https://www.amazon.com/gp/help/customer/display.html/ref=kinw_myk_wl_ln?ie=UTF8&nodeId=200767340#fees" target="_blank">Kindle Personal Document Service</a>. </p> </div> </div> <div class="row book-title"> <div class="small-12 columns"> <div class="heading_08">Heritage and Transformation of an African Popular Music</div> </div> </div> <div class="row book-details book-overview"> <div class="small-12 large-6 columns"> <ul> <li class="author"> <a href="/core/search?filters%5BauthorTerms%5D=Aghi Bahi&eventCode=SE-AU" class="more-by-this-author"><span class="author-name">Aghi Bahi</span></a>, <span class="affiliation">Université Félix Houphouët-Boigny</span> </li> <li> <span class="medium-4">Online ISBN: </span> <span class="medium-8">9781009469159</span> </li> </ul> </div> </div> </div> <div class="row wrapper no-padding-top"> <div class="small-12 columns"> <div class="row margin-top"> <div class="large-12 columns"> <form id="sendTokindleForm" action="/core/services/aop-cambridge-core/sendto" method="GET"> <fieldset> <legend> <label for="kindleEmailAddress">Your Kindle email address</label> </legend> <div class="row"> <div class="large-6 columns"> <input name="kindleEmailAddress" id="kindleEmailAddress" type="text" value="" required="required"/> <small class="error kindleEmailAddress" style="display:none">Please provide your Kindle email.</small> </div> <div class="large-6 columns"> <label class="dInlineBlock"><input name="kindleEmailDomain" type="radio" checked="checked" value="free.kindle.com" />@free.kindle.com</label> <label class="dInlineBlock"><input name="kindleEmailDomain" type="radio" value="kindle.com" />@kindle.com (<a href="https://www.amazon.com/gp/help/customer/display.html/ref=kinw_myk_wl_ln?ie=UTF8&nodeId=200767340#fees" target="_blank">service fees apply</a>)</label> </div> </div> </fieldset> <div class="row"> <div class="large-12 columns"> <fieldset> <legend>Available formats</legend> <label> <input type="checkbox" name="formats" class="formats" value="pdf" required /> PDF </label> <small class="error formats" style="display:none">Please select a format to save.</small> </fieldset> </div> </div> <div class="row"> <div class="large-12 columns"> <label for="usagePolicykindle"> <input type="checkbox" name="usagePolicykindle" id="usagePolicykindle" value="Usage" required/> By using this service, you agree that you will only keep content for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services <small class="error usagePolicy" style="display:none">Please confirm that you accept the terms of use.</small> </label> </div> </div> <input type="hidden" name="suppressTrackingEvent" value="false" /> <input type="hidden" name="service" value="kindle" /> <input type="hidden" name="documents" value="E8A1EAEE4FB07A976F3F5BA276E6339C" /> <input type="hidden" name="finalReturn" value="/core/elements/heritage-and-transformation-of-an-african-popular-music/E8A1EAEE4FB07A976F3F5BA276E6339C" /> <input type="hidden" name="_csrf" value="nKoCUeZW-PLGYrx7yXXU4kuPK8ezHM4oAK4I"> </form>  <div class="row margin-top"> <div class="small-6 large-6 columns"> <button href="#" class="button radius transparent right closeModal">Cancel</button> </div> <div class="small-6 large-6 columns"> <button type="submit" onClick="$('#sendTokindleForm').submit();" class="button blue radius left"> Save </button> </div> </div>  </div> </div> </div> </div> <a class="close-reveal-modal">×</a> </div> <script type="text/javascript"> $('#sendTokindleForm').on('submit', validatekindleForm); var _formkindle = $('#sendTokindleForm'); function resetValidationkindleForm() { var _form = _formkindle; _form.find('.error.formats').hide(); _form.find('.error.usagePolicy').hide(); } function validatekindleFormats(e) { var _form = _formkindle; var errors = false; var formats = _form.find('input[name="formats"]:checked'); if (formats.length < 1) { _form.find('.error.formats').show(); errors = true; } else { _form.find('.error.formats').hide(); } return errors; } function validatekindleUsagePolicy(e) { var _form = _formkindle; var usagePolicy = _form.find('input[name="usagePolicykindle"]'); var errors = false; if (!usagePolicy.is(':checked')) { _form.find('.error.usagePolicy').show(); errors = true; } else { _form.find('.error.usagePolicy').hide(); } return errors; } function validateKindleEmail(e) { var _form = _formkindle; var kindleEmailAddress = _form.find('input[name="kindleEmailAddress"]'); var errors = false; if (!kindleEmailAddress.val().trim()) { _form.find('.error.kindleEmailAddress').show(); kindleEmailAddress.addClass('error'); errors = true; } else { _form.find('.error.kindleEmailAddress').hide(); kindleEmailAddress.removeClass('error'); } return errors; } function validatekindleForm(e) { var _form = _formkindle; var resultPolicy = validatekindleUsagePolicy(); var resultFormats = validatekindleFormats(); if (resultPolicy) { $('#usagePolicykindle', _form).one('change', validatekindleUsagePolicy); } if (resultFormats) { $('.formats', _form).one('change', validatekindleFormats); } var resultKindleEmail = validateKindleEmail(e); if (resultKindleEmail) { $('input[name="kindleEmailAddress"]', _form).one('change', validateKindleEmail); } return !resultPolicy && !resultFormats && !resultKindleEmail; } $(document).ready(function () { // reset validation when the modal opens $(document).on('open.fndtn.reveal', '[data-reveal]', function () { resetValidationkindleForm(); // automatically select if there's only one format if ($('#sendTokindleForm input[name="formats"]').length === 1) { $('#sendTokindleForm input[name="formats"]').prop('checked', true); } }); }); </script><div id="dropboxModal" class="reveal-modal large" data-reveal> <div class="header"> <h1 class="heading_07">Save element to Dropbox</h1> </div> <div class="panel"> <div class="row"> <div class="large-12 columns margin-bottom"> <p> To save content items to your <span class="placeholder" rel="serviceDisplayName"></span> account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your <span class="placeholder" rel="serviceDisplayName"></span> account. <a href="/core/help">Find out more about saving content to <span class="placeholder" rel="serviceDisplayName">Dropbox</span></a>. </p> </div> </div> <div class="row book-title"> <div class="small-12 columns"> <div class="heading_08">Heritage and Transformation of an African Popular Music</div> </div> </div> <div class="row book-details book-overview"> <div class="small-12 large-6 columns"> <ul> <li class="author"> <a href="/core/search?filters%5BauthorTerms%5D=Aghi Bahi&eventCode=SE-AU" class="more-by-this-author"><span class="author-name">Aghi Bahi</span></a>, <span class="affiliation">Université Félix Houphouët-Boigny</span> </li> <li> <span class="medium-4">Online ISBN: </span> <span class="medium-8">9781009469159</span> </li> </ul> </div> </div> </div> <div class="row wrapper no-padding-top"> <div class="small-12 columns"> <div class="row margin-top"> <div class="large-12 columns"> <form id="sendTodropboxForm" action="/core/services/aop-cambridge-core/sendto" method="GET"> <div class="row"> <div class="large-12 columns"> <fieldset> <legend>Available formats</legend> <label> <input type="checkbox" name="formats" class="formats" value="pdf" required /> PDF </label> <small class="error formats" style="display:none">Please select a format to save.</small> </fieldset> </div> </div> <div class="row"> <div class="large-12 columns"> <label for="usagePolicydropbox"> <input type="checkbox" name="usagePolicydropbox" id="usagePolicydropbox" value="Usage" required/> By using this service, you agree that you will only keep content for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services <small class="error usagePolicy" style="display:none">Please confirm that you accept the terms of use.</small> </label> </div> </div> <input type="hidden" name="suppressTrackingEvent" value="false" /> <input type="hidden" name="service" value="dropbox" /> <input type="hidden" name="documents" value="E8A1EAEE4FB07A976F3F5BA276E6339C" /> <input type="hidden" name="finalReturn" value="/core/elements/heritage-and-transformation-of-an-african-popular-music/E8A1EAEE4FB07A976F3F5BA276E6339C" /> <input type="hidden" name="_csrf" value="nKoCUeZW-PLGYrx7yXXU4kuPK8ezHM4oAK4I"> </form>  <div class="row margin-top"> <div class="small-6 large-6 columns"> <button href="#" class="button radius transparent right closeModal">Cancel</button> </div> <div class="small-6 large-6 columns"> <button type="submit" onClick="$('#sendTodropboxForm').submit();" class="button blue radius left"> Save </button> </div> </div>  </div> </div> </div> </div> <a class="close-reveal-modal">×</a> </div> <script type="text/javascript"> $('#sendTodropboxForm').on('submit', validatedropboxForm); var _formdropbox = $('#sendTodropboxForm'); function resetValidationdropboxForm() { var _form = _formdropbox; _form.find('.error.formats').hide(); _form.find('.error.usagePolicy').hide(); } function validatedropboxFormats(e) { var _form = _formdropbox; var errors = false; var formats = _form.find('input[name="formats"]:checked'); if (formats.length < 1) { _form.find('.error.formats').show(); errors = true; } else { _form.find('.error.formats').hide(); } return errors; } function validatedropboxUsagePolicy(e) { var _form = _formdropbox; var usagePolicy = _form.find('input[name="usagePolicydropbox"]'); var errors = false; if (!usagePolicy.is(':checked')) { _form.find('.error.usagePolicy').show(); errors = true; } else { _form.find('.error.usagePolicy').hide(); } return errors; } function validatedropboxForm(e) { var _form = _formdropbox; var resultPolicy = validatedropboxUsagePolicy(); var resultFormats = validatedropboxFormats(); if (resultPolicy) { $('#usagePolicydropbox', _form).one('change', validatedropboxUsagePolicy); } if (resultFormats) { $('.formats', _form).one('change', validatedropboxFormats); } return !resultPolicy && !resultFormats ; } $(document).ready(function () { // reset validation when the modal opens $(document).on('open.fndtn.reveal', '[data-reveal]', function () { resetValidationdropboxForm(); // automatically select if there's only one format if ($('#sendTodropboxForm input[name="formats"]').length === 1) { $('#sendTodropboxForm input[name="formats"]').prop('checked', true); } }); }); </script><div id="googleDriveModal" class="reveal-modal large" data-reveal> <div class="header"> <h1 class="heading_07">Save element to Google Drive</h1> </div> <div class="panel"> <div class="row"> <div class="large-12 columns margin-bottom"> <p> To save content items to your <span class="placeholder" rel="serviceDisplayName"></span> account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your <span class="placeholder" rel="serviceDisplayName"></span> account. <a href="/core/help">Find out more about saving content to <span class="placeholder" rel="serviceDisplayName">Google Drive</span></a>. </p> </div> </div> <div class="row book-title"> <div class="small-12 columns"> <div class="heading_08">Heritage and Transformation of an African Popular Music</div> </div> </div> <div class="row book-details book-overview"> <div class="small-12 large-6 columns"> <ul> <li class="author"> <a href="/core/search?filters%5BauthorTerms%5D=Aghi Bahi&eventCode=SE-AU" class="more-by-this-author"><span class="author-name">Aghi Bahi</span></a>, <span class="affiliation">Université Félix Houphouët-Boigny</span> </li> <li> <span class="medium-4">Online ISBN: </span> <span class="medium-8">9781009469159</span> </li> </ul> </div> </div> </div> <div class="row wrapper no-padding-top"> <div class="small-12 columns"> <div class="row margin-top"> <div class="large-12 columns"> <form id="sendTogoogleDriveForm" action="/core/services/aop-cambridge-core/sendto" method="GET"> <div class="row"> <div class="large-12 columns"> <fieldset> <legend>Available formats</legend> <label> <input type="checkbox" name="formats" class="formats" value="pdf" required /> PDF </label> <small class="error formats" style="display:none">Please select a format to save.</small> </fieldset> </div> </div> <div class="row"> <div class="large-12 columns"> <label for="usagePolicygoogleDrive"> <input type="checkbox" name="usagePolicygoogleDrive" id="usagePolicygoogleDrive" value="Usage" required/> By using this service, you agree that you will only keep content for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services <small class="error usagePolicy" style="display:none">Please confirm that you accept the terms of use.</small> </label> </div> </div> <input type="hidden" name="suppressTrackingEvent" value="false" /> <input type="hidden" name="service" value="googleDrive" /> <input type="hidden" name="documents" value="E8A1EAEE4FB07A976F3F5BA276E6339C" /> <input type="hidden" name="finalReturn" value="/core/elements/heritage-and-transformation-of-an-african-popular-music/E8A1EAEE4FB07A976F3F5BA276E6339C" /> <input type="hidden" name="_csrf" value="nKoCUeZW-PLGYrx7yXXU4kuPK8ezHM4oAK4I"> </form>  <div class="row margin-top"> <div class="small-6 large-6 columns"> <button href="#" class="button radius transparent right closeModal">Cancel</button> </div> <div class="small-6 large-6 columns"> <button type="submit" onClick="$('#sendTogoogleDriveForm').submit();" class="button blue radius left"> Save </button> </div> </div>  </div> </div> </div> </div> <a class="close-reveal-modal">×</a> </div> <script type="text/javascript"> $('#sendTogoogleDriveForm').on('submit', validategoogleDriveForm); var _formgoogleDrive = $('#sendTogoogleDriveForm'); function resetValidationgoogleDriveForm() { var _form = _formgoogleDrive; _form.find('.error.formats').hide(); _form.find('.error.usagePolicy').hide(); } function validategoogleDriveFormats(e) { var _form = _formgoogleDrive; var errors = false; var formats = _form.find('input[name="formats"]:checked'); if (formats.length < 1) { _form.find('.error.formats').show(); errors = true; } else { _form.find('.error.formats').hide(); } return errors; } function validategoogleDriveUsagePolicy(e) { var _form = _formgoogleDrive; var usagePolicy = _form.find('input[name="usagePolicygoogleDrive"]'); var errors = false; if (!usagePolicy.is(':checked')) { _form.find('.error.usagePolicy').show(); errors = true; } else { _form.find('.error.usagePolicy').hide(); } return errors; } function validategoogleDriveForm(e) { var _form = _formgoogleDrive; var resultPolicy = validategoogleDriveUsagePolicy(); var resultFormats = validategoogleDriveFormats(); if (resultPolicy) { $('#usagePolicygoogleDrive', _form).one('change', validategoogleDriveUsagePolicy); } if (resultFormats) { $('.formats', _form).one('change', validategoogleDriveFormats); } return !resultPolicy && !resultFormats ; } $(document).ready(function () { // reset validation when the modal opens $(document).on('open.fndtn.reveal', '[data-reveal]', function () { resetValidationgoogleDriveForm(); // automatically select if there's only one format if ($('#sendTogoogleDriveForm input[name="formats"]').length === 1) { $('#sendTogoogleDriveForm input[name="formats"]').prop('checked', true); } }); }); </script> <div id='platform-footer'> <div class="__shared-elements-html ShEl"><div class="__shared-elements-head"> <link rel="stylesheet" href="/aca/shared-elements/_nuxt/entry.BhGMTrWu.css"> <link rel="prefetch" as="style" href="/aca/shared-elements/_nuxt/error-404.B06nACMW.css"> <link rel="prefetch" as="style" href="/aca/shared-elements/_nuxt/error-500.WGRfNq7F.css"> </div><div class="__shared-elements-body"><div id="__sharedElements-z24424"><div class="apl"><footer class="apl-footer apl-theme--core" data-v-20efd383><section class="apl-footer__top" data-v-20efd383><div class="apl-container apl-footer__container-top" data-v-20efd383><a href="/" class="apl-footer__logo-link" data-v-20efd383><img src="data:image/png;base64,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" alt="Cambridge University Press" class="apl-footer__logo-image" data-v-20efd383></a><div class="apl-footer__nav-and-location" data-v-20efd383><div class="apl-footer__nav" data-v-20efd383><nav class="apl-link-block__nav" data-v-7c018d72 data-v-20efd383><h2 class="apl-link-block__heading" data-v-7c018d72>Our Site</h2><ul class="apl-link-block__list-platforms" data-v-7c018d72><li class="apl-link-block__list-item" data-v-7c018d72><a tabindex="0" href="/core/accessibility" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-link-block__btn-link" aria-label="Cambridge Core accessibility page" data-v-7c018d72><span>Accessibility</span></a></li><li class="apl-link-block__list-item" data-v-7c018d72><a tabindex="0" href="/core/help/FAQs" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-link-block__btn-link" aria-label="Cambridge Core contact & help page" data-v-7c018d72><span>Contact & Help</span></a></li><li class="apl-link-block__list-item" data-v-7c018d72><a tabindex="0" href="/core/legal-notices/terms" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-link-block__btn-link" aria-label="Cambridge Core legal notices page" data-v-7c018d72><span>Legal Notices</span></a></li></ul></nav><nav class="apl-link-block__nav" data-v-7c018d72 data-v-20efd383><h2 class="apl-link-block__heading" data-v-7c018d72>Our Platforms</h2><ul class="apl-link-block__list-platforms" data-v-7c018d72><li class="apl-link-block__list-item" data-v-7c018d72><a tabindex="0" href="https://www.cambridge.org/core/" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-link-block__btn-link" aria-label="Cambridge Core. Opens in a new window." data-v-7c018d72><span>Cambridge Core</span></a></li><li class="apl-link-block__list-item" data-v-7c018d72><a tabindex="0" href="https://www.cambridge.org/engage/coe/public-dashboard" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-link-block__btn-link" aria-label="Cambridge Open Engage. Opens in a new window." data-v-7c018d72><span>Cambridge Open Engage</span></a></li><li class="apl-link-block__list-item" data-v-7c018d72><a tabindex="0" href="https://www.cambridge.org/highereducation/" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-link-block__btn-link" aria-label="Cambridge Higher Education. Opens in a new window." data-v-7c018d72><span>Cambridge Higher Education</span></a></li></ul></nav><nav class="apl-link-block__nav" data-v-7c018d72 data-v-20efd383><h2 class="apl-link-block__heading" data-v-7c018d72>Our Products</h2><ul class="apl-link-block__list-platforms" data-v-7c018d72><li class="apl-link-block__list-item" data-v-7c018d72><a tabindex="0" href="https://www.cambridge.org/core/publications/journals" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-link-block__btn-link" aria-label="Journals. Opens in a new window." data-v-7c018d72><span>Journals</span></a></li><li class="apl-link-block__list-item" data-v-7c018d72><a tabindex="0" href="https://www.cambridge.org/core/search?aggs%5BproductTypes%5D%5Bfilters%5D=BOOK" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-link-block__btn-link" aria-label="Books. Opens in a new window." data-v-7c018d72><span>Books</span></a></li><li class="apl-link-block__list-item" data-v-7c018d72><a tabindex="0" href="https://www.cambridge.org/core/publications/elements" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-link-block__btn-link" aria-label="Elements. Opens in a new window." data-v-7c018d72><span>Elements</span></a></li><li class="apl-link-block__list-item" data-v-7c018d72><a tabindex="0" href="https://www.cambridge.org/highereducation/search?aggs=%24productTypes%24BOOK%3Atrue%3B%3B" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-link-block__btn-link" aria-label="Textbooks. Opens in a new window." data-v-7c018d72><span>Textbooks</span></a></li><li class="apl-link-block__list-item" data-v-7c018d72><a tabindex="0" href="https://www.cambridge.org/highereducation/search?aggs=%24productTypes%24COURSEWARE%3Atrue%3B%3B" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-link-block__btn-link" aria-label="Courseware. Opens in a new window." data-v-7c018d72><span>Courseware</span></a></li></ul></nav></div><div class="apl-footer__socials-and-location" data-v-20efd383><div class="apl-footer__socials" data-v-20efd383><h2 class="apl-footer__heading" data-v-20efd383>Join us online</h2><ul class="apl-footer__list-socials" data-v-20efd383><li class="apl-footer__list-item" data-v-20efd383><a tabindex="0" href="https://www.youtube.com/playlist?list=PLTK8KRW19hUVucVRHbIx73oLKUro8HXt0" target="_blank" class="apl-button apl-button--primary apl-button--sm apl-button--text apl-button--link apl-footer__list-item-link" aria-label="Visit Cambridge University Press Youtube account. Opens in a new tab." data-v-20efd383><div class="apl-icon apl-icon--youtube" style="color:;" data-v-27c0a44c data-v-20efd383></div></a></li><li class="apl-footer__list-item" data-v-20efd383><a tabindex="0" href="https://twitter.com/CambridgeCore" target="_blank" class="apl-button apl-button--primary apl-button--sm apl-button--text apl-button--link apl-footer__list-item-link" aria-label="Visit Cambridge University Press X account. Opens in a new tab." data-v-20efd383><div class="apl-icon apl-icon--x" style="color:;" data-v-27c0a44c data-v-20efd383></div></a></li><li class="apl-footer__list-item" data-v-20efd383><a tabindex="0" href="https://www.facebook.com/CambridgeCore" target="_blank" class="apl-button apl-button--primary apl-button--sm apl-button--text apl-button--link apl-footer__list-item-link" aria-label="Visit Cambridge University Press Facebook account. Opens in a new tab." data-v-20efd383><div class="apl-icon apl-icon--facebook" style="color:;" data-v-27c0a44c data-v-20efd383></div></a></li><li class="apl-footer__list-item" data-v-20efd383><a tabindex="0" href="https://www.instagram.com/cambridgeuniversitypress/" target="_blank" class="apl-button apl-button--primary apl-button--sm apl-button--text apl-button--link apl-footer__list-item-link" aria-label="Visit Cambridge University Press Instagram account. Opens in a new tab." data-v-20efd383><div class="apl-icon apl-icon--instagram" style="color:;" data-v-27c0a44c data-v-20efd383></div></a></li><li class="apl-footer__list-item" data-v-20efd383><a tabindex="0" href="https://www.linkedin.com/showcase/11096649" target="_blank" class="apl-button apl-button--primary apl-button--sm apl-button--text apl-button--link apl-footer__list-item-link" aria-label="Visit Cambridge University Press Linkedin account. Opens in a new tab." data-v-20efd383><div class="apl-icon apl-icon--linkedin" style="color:;" data-v-27c0a44c data-v-20efd383></div></a></li></ul></div><div class="apl-footer__location apl-footer__location--desktop" data-v-20efd383><div class="apl-dropdown" data-v-6114426c data-v-20efd383><div class="apl-location" data-v-ae305bb6 data-v-6114426c><div class="apl-location__main" data-v-ae305bb6><div class="apl-location__location-picker" data-v-ae305bb6><label class="apl-location__label" for="footer-location-picker" aria-label="Select your location" data-v-ae305bb6>Location</label><div class="apl-location__input-wrapper" data-v-ae305bb6><input id="footer-location-picker" type="text" role="combobox" aria-expanded="false" placeholder="Choose your location" class="apl-location__input" value="GBR" data-v-ae305bb6><div class="apl-icon apl-icon--globe-web apl-location__globe" style="color:;" aria-hidden="true" data-v-27c0a44c data-v-ae305bb6></div><button tabindex="0" type="button" class="apl-button apl-button--primary apl-button--sm apl-button--icon-only apl-location__chevron-btn" aria-label="open location list" data-v-ae305bb6><div class="apl-icon apl-icon--chevron-down apl-button__icon--center" style="color:;" tabindex="-1" data-v-27c0a44c></div></button><div class="apl-location__error" data-v-ae305bb6><div class="apl-icon apl-icon--error apl-location__error-icon" style="color:;" data-v-27c0a44c data-v-ae305bb6></div><p class="apl-location__error-message" data-v-ae305bb6> Please choose a valid location. </p></div></div></div><button tabindex="0" type="submit" class="apl-button apl-button--secondary apl-button--sm apl-location__button" aria-label="Submit to update location preference" data-v-ae305bb6><span>Update</span></button></div></div></div></div></div></div></div></section><section class="apl-footer__bottom" data-v-20efd383><div class="apl-container apl-footer__container-bottom" data-v-20efd383><button tabindex="0" type="button" class="apl-button apl-button--primary apl-button--lg apl-footer__btn-collapse" aria-label="Click to open legal information links list" aria-expanded="false" aria-controls="apl-footer__legal-links" data-v-20efd383><span>Legal Information</span><div class="apl-icon apl-icon--chevron-down apl-button__icon--right" style="color:;" tabindex="-1" data-v-27c0a44c></div></button><ul class="apl-footer__list-legal" id="apl-footer__legal-links" data-v-20efd383><li class="apl-footer__list-item apl-footer__list-item-legal" data-v-20efd383><a tabindex="0" href="https://www.cambridge.org/about-us/rights-permissions/" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-footer__btn-link apl-footer__btn-link-legal" aria-label="Rights and Permissions. Opens in a new window." data-v-20efd383><span>Rights & Permissions</span></a></li><li class="apl-footer__list-item apl-footer__list-item-legal" data-v-20efd383><a tabindex="0" href="https://www.cambridge.org/about-us/legal-notices/copyright/" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-footer__btn-link apl-footer__btn-link-legal" aria-label="Copyright. Opens in a new window." data-v-20efd383><span>Copyright</span></a></li><li class="apl-footer__list-item apl-footer__list-item-legal" data-v-20efd383><a tabindex="0" href="https://www.cambridge.org/about-us/legal-notices/privacy-policy/" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-footer__btn-link apl-footer__btn-link-legal" aria-label="Privacy Notice. Opens in a new window." data-v-20efd383><span>Privacy Notice</span></a></li><li class="apl-footer__list-item apl-footer__list-item-legal" data-v-20efd383><a tabindex="0" href="https://www.cambridge.org/about-us/legal-notices/terms-use" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-footer__btn-link apl-footer__btn-link-legal" aria-label="Terms of Use. Opens in a new window." data-v-20efd383><span>Terms of Use</span></a></li><li class="apl-footer__list-item apl-footer__list-item-legal" data-v-20efd383><a tabindex="0" href="https://www.cambridge.org/about-us/legal-notices/cookies-policy/" target="_blank" class="apl-button apl-button--primary apl-button--lg apl-button--text apl-button--link apl-footer__btn-link apl-footer__btn-link-legal" aria-label="Cookies Policy. Opens in a new window." data-v-20efd383><span>Cookies Policy</span></a></li></ul><div class="apl-footer__copyright" data-v-20efd383><div class="apl-icon apl-icon--copyright" style="color:;" data-v-27c0a44c data-v-20efd383></div><span data-v-20efd383> Cambridge University Press 2024</span></div></div></section></footer></div></div> </div></div><script>window.__PLATFORM_FOOTER_DATA__ = {"data":{"entry":{"slug":"global-config","platformLinks":[{"name":"navigationBarCategory","value":{"title":"Browse","navigationBarArea":[{"name":"navigationBarArea","value":{"title":"Subjects","hubPage":{"name":"url","value":{"title":"Subjects","url":"/core/browse-subjects","ariaLabel":"Subjects"}},"column1Heading":" Subjects (A-D)","column1StaticPagesOrUrls":[{"name":"url","value":{"title":"Anthropology","url":"/core/browse-subjects/anthropology","ariaLabel":"Anthropology"}},{"name":"url","value":{"title":"Archaeology","url":"/core/browse-subjects/archaeology","ariaLabel":"Archaeology"}},{"name":"url","value":{"title":"Area Studies","url":"/core/browse-subjects/area-studies","ariaLabel":"Area Studies"}},{"name":"url","value":{"title":"Art","url":"/core/browse-subjects/art","ariaLabel":"Art"}},{"name":"url","value":{"title":"Chemistry","url":"/core/browse-subjects/chemistry","ariaLabel":"Chemistry"}},{"name":"url","value":{"title":"Classical Studies","url":"/core/browse-subjects/classical-studies","ariaLabel":"Classical Studies"}},{"name":"url","value":{"title":"Computer Science","url":"/core/browse-subjects/computer-science","ariaLabel":"Computer Science"}},{"name":"url","value":{"title":"Drama, Theatre, Performance Studies","url":"/core/browse-subjects/drama-and-theatre","ariaLabel":"Drama, Theatre, Performance Studies"}}],"column2Heading":" Subjects (E-K)","column2StaticPagesOrUrls":[{"name":"url","value":{"title":"Earth and Environmental Science","url":"/core/browse-subjects/earth-and-environmental-sciences","ariaLabel":"Earth and Environmental Science"}},{"name":"url","value":{"title":"Economics","url":"/core/browse-subjects/economics","ariaLabel":"Economics"}},{"name":"url","value":{"title":"Education","url":"/core/browse-subjects/education","ariaLabel":"Education"}},{"name":"url","value":{"title":"Engineering","url":"/core/browse-subjects/engineering","ariaLabel":"Engineering"}},{"name":"url","value":{"title":"English Language Teaching – Resources for Teachers","url":"/core/browse-subjects/english-language-teaching-resources-for-teachers","ariaLabel":"English Language Teaching – Resources for Teachers"}},{"name":"url","value":{"title":"Film, Media, Mass Communication","url":"/core/browse-subjects/film-media-mass-ommunication","ariaLabel":"Film, Media, Mass Communication"}},{"name":"url","value":{"title":"General Science","url":"/core/browse-subjects/general-science","ariaLabel":"General Science"}},{"name":"url","value":{"title":"Geography","url":"/core/browse-subjects/geography","ariaLabel":"Geography"}},{"name":"url","value":{"title":"History","url":"/core/browse-subjects/history","ariaLabel":"History"}}],"column3Heading":" Subjects (L-O)","column3StaticPagesOrUrls":[{"name":"url","value":{"title":"Language and Linguistics","url":"/core/browse-subjects/language-and-linguistics","ariaLabel":"Language and Linguistics"}},{"name":"url","value":{"title":"Law","url":"/core/browse-subjects/law","ariaLabel":"Law"}},{"name":"url","value":{"title":"Life Sciences","url":"/core/browse-subjects/life-sciences","ariaLabel":"Life Sciences"}},{"name":"url","value":{"title":"Literature","url":"/core/browse-subjects/literature","ariaLabel":"Literature"}},{"name":"url","value":{"title":"Management","url":"/core/browse-subjects/management","ariaLabel":"Management"}},{"name":"url","value":{"title":"Materials Science","url":"/core/browse-subjects/materials-science","ariaLabel":"Materials Science"}},{"name":"url","value":{"title":"Mathematics","url":"/core/browse-subjects/mathematics","ariaLabel":"Mathematics"}},{"name":"url","value":{"title":"Medicine","url":"/core/browse-subjects/medicine","ariaLabel":"Medicine"}},{"name":"url","value":{"title":"Music","url":"/core/browse-subjects/music","ariaLabel":"Music"}},{"name":"url","value":{"title":"Nutrition","url":"/core/browse-subjects/nutrition","ariaLabel":"Nutrition"}}],"column4Heading":" Subjects (P-Z)","column4StaticPagesOrUrls":[{"name":"url","value":{"title":"Philosophy","url":"/core/browse-subjects/philosophy","ariaLabel":"Philosophy"}},{"name":"url","value":{"title":"Physics and Astronomy","url":"/core/browse-subjects/physics","ariaLabel":"Physics and Astronomy"}},{"name":"url","value":{"title":"Politics and International Relations","url":"/core/browse-subjects/politics-and-international-relations","ariaLabel":"Politics and International Relations"}},{"name":"url","value":{"title":"Psychiatry","url":"/core/browse-subjects/psychiatry","ariaLabel":"Psychiatry"}},{"name":"url","value":{"title":"Psychology","url":"/core/browse-subjects/psychology","ariaLabel":"Psychology"}},{"name":"url","value":{"title":"Religion","url":"/core/browse-subjects/religion","ariaLabel":"Religion"}},{"name":"url","value":{"title":"Social Science Research Methods","url":"/core/browse-subjects/social-science-research-methods","ariaLabel":"Social Science Research Methods"}},{"name":"url","value":{"title":"Sociology","url":"/core/browse-subjects/sociology","ariaLabel":"Sociology"}},{"name":"url","value":{"title":"Statistics and Probability","url":"/core/browse-subjects/statistics-and-probability","ariaLabel":"Statistics and Probability"}}],"slug":"subjects"}},{"name":"navigationBarArea","value":{"title":"Open access","hubPage":{"name":"url","value":{"title":"Open access","url":"/core/publications/open-access","ariaLabel":"Open access"}},"column1Heading":"All open access publishing","column1StaticPagesOrUrls":[{"name":"url","value":{"title":"Open access","url":"/core/publications/open-access","ariaLabel":"Open access"}},{"name":"url","value":{"title":"Open access journals","url":"/core/publications/open-access/listing?aggs[productTypes][filters]=JOURNAL&statuses=PUBLISHED&sort=titleSort:asc","ariaLabel":"Open access journals"}},{"name":"url","value":{"title":"Research open journals","url":"/core/publications/open-access/research-open?aggs[productTypes][filters]=JOURNAL&statuses=PUBLISHED&sort=titleSort:asc","ariaLabel":"Research open journals"}},{"name":"url","value":{"title":"Journals containing open access","url":"/core/publications/open-access/hybrid-open-access-journals?aggs[productTypes][filters]=JOURNAL&statuses=PUBLISHED&sort=titleSort:asc","ariaLabel":"Journals containing open access"}},{"name":"url","value":{"title":"Open access articles","url":"/core/publications/open-access/listing?aggs[productTypes][filters]=JOURNAL_ARTICLE","ariaLabel":"Open access articles"}},{"name":"url","value":{"title":"Open access books","url":"/core/publications/open-access/listing?aggs[productTypes][filters]=BOOK&sort=canonical.date:desc","ariaLabel":"Open access books"}},{"name":"url","value":{"title":"Open access Elements","url":"/core/publications/elements/published-elements?aggs%5BopenAccess%5D%5Bfilters%5D=7275BA1E84CA769210167A6A66523B47&aggs%5BproductTypes%5D%5Bfilters%5D=ELEMENT&searchWithinIds=ECFD8F5C64F47F3F5A3D395C15B7C493","ariaLabel":"Open access Elements"}}],"slug":"open-access"}},{"name":"navigationBarArea","value":{"title":"Journals","hubPage":{"name":"url","value":{"title":"Journals","url":"/core/publications/journals","ariaLabel":"Journals"}},"column1Heading":"Explore","column1StaticPagesOrUrls":[{"name":"url","value":{"title":"All journal subjects","url":"/core/publications/journals","ariaLabel":"All journal subjects"}},{"name":"url","value":{"title":"Search journals","url":"/core/publications/journals","ariaLabel":"Search journals"}}],"column2Heading":"Open access","column2StaticPagesOrUrls":[{"name":"url","value":{"title":"Open access journals","url":"/core/publications/open-access/listing?aggs[productTypes][filters]=JOURNAL&statuses=PUBLISHED&sort=titleSort:asc","ariaLabel":"Open access journals"}},{"name":"url","value":{"title":"Research open journals","url":"/core/publications/open-access/research-open?aggs[productTypes][filters]=JOURNAL&statuses=PUBLISHED&sort=titleSort:asc","ariaLabel":"Research open journals"}},{"name":"url","value":{"title":"Journals containing open access","url":"/core/publications/open-access/hybrid-open-access-journals?aggs[productTypes][filters]=JOURNAL&statuses=PUBLISHED&sort=titleSort:asc","ariaLabel":"Journals containing open access"}},{"name":"url","value":{"title":"Open access articles","url":"/core/publications/open-access/listing?aggs[productTypes][filters]=JOURNAL_ARTICLE","ariaLabel":"Open access articles"}}],"column3Heading":"Collections","column3StaticPagesOrUrls":[{"name":"url","value":{"title":"Cambridge Forum","url":"/core/publications/collections/cambridge-forum","ariaLabel":"Cambridge Forum"}},{"name":"url","value":{"title":"Cambridge Law Reports Collection","url":"/core/publications/collections/cambridge-law-reports-collection","ariaLabel":"Cambridge Law Reports Collection"}},{"name":"url","value":{"title":"Cambridge Prisms","url":"/core/publications/collections/cambridge-prisms","ariaLabel":"Cambridge Prisms"}},{"name":"url","value":{"title":"Research Directions","url":"/core/publications/collections/research-directions","ariaLabel":"Research Directions"}}],"slug":"journals"}},{"name":"navigationBarArea","value":{"title":"Books","hubPage":{"name":"url","value":{"title":"Books","url":"/core/publications/books","ariaLabel":"Books"}},"column1Heading":"Explore","column1StaticPagesOrUrls":[{"name":"url","value":{"title":"Books","url":"/core/publications/books","ariaLabel":"Books"}},{"name":"url","value":{"title":"Open access books","url":"/core/publications/open-access/listing?aggs[productTypes][filters]=BOOK&sort=canonical.date:desc","ariaLabel":"Open access books"}},{"name":"url","value":{"title":"New books","url":"/core/publications/books/listing?aggs[productDate][filters]=Last+3+months&aggs[productTypes][filters]=BOOK&sort=canonical.date:desc","ariaLabel":"New books"}},{"name":"url","value":{"title":"Flip it Open","url":"/core/publications/collections/flip-it-open","ariaLabel":"Flip it Open"}}],"column2Heading":"Collections","column2StaticPagesOrUrls":[{"name":"url","value":{"title":"Cambridge Companions","url":"/core/publications/collections/cambridge-companions","ariaLabel":"Cambridge Companions"}},{"name":"url","value":{"title":"Cambridge Editions","url":"/core/publications/collections/cambridge-editions","ariaLabel":"Cambridge Editions"}},{"name":"url","value":{"title":"Cambridge Histories","url":"/core/publications/collections/cambridge-histories","ariaLabel":"Cambridge Histories"}},{"name":"url","value":{"title":"Cambridge Library Collection","url":"/core/publications/collections/cambridge-library-collection","ariaLabel":"Cambridge Library Collection"}},{"name":"url","value":{"title":"Cambridge Shakespeare","url":"/core/publications/collections/cambridge-shakespeare","ariaLabel":"Cambridge Shakespeare"}},{"name":"url","value":{"title":"Cambridge Handbooks","url":"/core/publications/collections/cambridgehandbooks","ariaLabel":"Cambridge Handbooks"}}],"column3Heading":" Collections (cont.)","column3StaticPagesOrUrls":[{"name":"url","value":{"title":"Dispute Settlement Reports Online","url":"/core/publications/collections/dispute-settlement-reports-online","ariaLabel":"Dispute Settlement Reports Online"}},{"name":"url","value":{"title":"Flip it Open","url":"/core/publications/collections/flip-it-open","ariaLabel":"Flip it Open"}},{"name":"url","value":{"title":"Hemingway Letters","url":"/core/publications/collections/hemingway-letters","ariaLabel":"Hemingway Letters"}},{"name":"url","value":{"title":"Shakespeare Survey","url":"/core/publications/collections/shakespeare-survey","ariaLabel":"Shakespeare Survey"}},{"name":"url","value":{"title":"Stahl Online","url":"/core/publications/collections/stahl-online","ariaLabel":"Stahl Online"}},{"name":"url","value":{"title":"The Correspondence of Isaac Newton","url":"/core/publications/collections/the-correspondence-of-isaac-newton","ariaLabel":"The Correspondence of Isaac Newton"}}],"slug":"books"}},{"name":"navigationBarArea","value":{"title":"Elements","hubPage":{"name":"url","value":{"title":"Elements","url":"/core/publications/elements","ariaLabel":"Elements"}},"column1Heading":"Explore","column1StaticPagesOrUrls":[{"name":"url","value":{"title":"About Elements","url":"/core/publications/elements","ariaLabel":"About Elements"}},{"name":"url","value":{"title":"Elements series","url":"/core/publications/elements/cambridge-elements-series","ariaLabel":"Elements series"}},{"name":"url","value":{"title":"Open access Elements","url":"/core/publications/elements/published-elements?aggs%5BopenAccess%5D%5Bfilters%5D=7275BA1E84CA769210167A6A66523B47&aggs%5BproductTypes%5D%5Bfilters%5D=ELEMENT&searchWithinIds=ECFD8F5C64F47F3F5A3D395C15B7C493","ariaLabel":"Open access Elements"}},{"name":"url","value":{"title":"New Elements","url":"/core/publications/elements/published-elements?aggs%5BproductTypes%5D%5Bfilters%5D=ELEMENT&aggs%5BproductDate%5D%5Bfilters%5D=Last%203%20months&searchWithinIds=ECFD8F5C64F47F3F5A3D395C15B7C493","ariaLabel":"New Elements"}}],"column2Heading":"Subjects (A-E)","column2StaticPagesOrUrls":[{"name":"url","value":{"title":"Anthropology","url":"/core/elements/subject/Anthropology/2E44A5AF2838E017617A26DD79FAEAEE","ariaLabel":"Anthropology"}},{"name":"url","value":{"title":"Archaeology","url":"/core/elements/subject/Archaeology/63A50B5368A9F97F8AA2D6AB965B5F4C","ariaLabel":"Archaeology"}},{"name":"url","value":{"title":"Classical Studies","url":"/core/elements/subject/Classical%20Studies/DDC63B7F5792FE2A95D1FB15F76E3F42","ariaLabel":"Classical Studies"}},{"name":"url","value":{"title":"Computer Science","url":"/core/elements/subject/Computer%20Science/A57E10708F64FB69CE78C81A5C2A6555","ariaLabel":"Computer Science"}},{"name":"url","value":{"title":"Drama, Theatre, Performance Studies","url":"/core/elements/subject/Drama,%20Theatre,%20Performance%20Studies/2825E4E39F2D641B36543EE80FB1DEA3","ariaLabel":"Drama, Theatre, Performance Studies"}},{"name":"url","value":{"title":"Earth and Environmental Sciences","url":"/core/elements/subject/Earth%20and%20Environmental%20Sciences/F470FBF5683D93478C7CAE5A30EF9AE8","ariaLabel":"Earth and Environmental Sciences"}},{"name":"url","value":{"title":"Economics","url":"/core/elements/subject/Economics/FA44491F1F55F917C43E9832715B9DE7","ariaLabel":"Economics"}},{"name":"url","value":{"title":"Education","url":"/core/elements/subject/Education/550D00F8DF590F2598CF7CC0038E24D1","ariaLabel":"Education"}},{"name":"url","value":{"title":"Engineering","url":"/core/elements/subject/Engineering/CCC62FE56DCC1D050CA1340C1CCF46F5","ariaLabel":"Engineering"}}],"column3Heading":" Subjects (F-O)","column3StaticPagesOrUrls":[{"name":"url","value":{"title":"Film, Media, Mass Communication","url":"/core/elements/subject/Film,%20Media,%20Mass%20Communication/4B91F10E834814A90CE718E7831E492F","ariaLabel":"Film, Media, Mass Communication"}},{"name":"url","value":{"title":"History","url":"/core/elements/subject/History/66BE42A30172E280FDE64F8EE2F485B0","ariaLabel":"History"}},{"name":"url","value":{"title":"Language and Linguistics","url":"/core/elements/subject/Language%20and%20Linguistics/140D314098408C26BDF3009F7FF858E9","ariaLabel":"Language and Linguistics"}},{"name":"url","value":{"title":"Law","url":"/core/elements/subject/Law/7C9FB6788DD8D7E6696263BC774F4D5B","ariaLabel":"Law"}},{"name":"url","value":{"title":"Life Sciences","url":"/core/elements/subject/Life%20Sciences/E044EF2F61B601378786E9EDA901B2D5","ariaLabel":"Life Sciences"}},{"name":"url","value":{"title":"Literature","url":"/core/elements/subject/Literature/F2434ADC122145767C6C3B988A8E9BD5","ariaLabel":"Literature"}},{"name":"url","value":{"title":"Management","url":"/core/elements/subject/Management/0EDCC0540639B06A5669BDEEF50C4CBE","ariaLabel":"Management"}},{"name":"url","value":{"title":"Mathematics","url":"/core/elements/subject/Mathematics/FA1467C44B5BD46BB8AA6E58C2252153","ariaLabel":"Mathematics"}},{"name":"url","value":{"title":"Medicine","url":"/core/elements/subject/Medicine/66FF02B2A4F83D9A645001545197F287","ariaLabel":"Medicine"}},{"name":"url","value":{"title":"Music","url":"/core/elements/subject/Music/A370B5604591CB3C7F9AFD892DDF7BD1","ariaLabel":"Music"}}],"column4Heading":" Subjects (P-Z)","column4StaticPagesOrUrls":[{"name":"url","value":{"title":"Philosophy","url":"/core/elements/subject/Philosophy/2D1AC3C0E174F1F1A93F8C7DE19E0FAB","ariaLabel":"Philosophy"}},{"name":"url","value":{"title":"Physics and Astronomy","url":"/core/elements/subject/Physics%20and%20Astronomy/DBFB610E9FC5E012C011430C0573CC06","ariaLabel":"Physics and Astronomy"}},{"name":"url","value":{"title":"Politics and International Relations","url":"/core/elements/subject/Politics%20and%20International%20Relations/3BF83347E5E456DAC34F3FABFC8BBF4E","ariaLabel":"Politics and International Relations"}},{"name":"url","value":{"title":"Psychology","url":"/core/elements/subject/Psychology/21B42A72BA3E4CB0E3315E5B1B71B07F","ariaLabel":"Psychology"}},{"name":"url","value":{"title":"Religion","url":"/core/elements/subject/Religion/53E51D24FB488962B9364A2C4B45D1C3","ariaLabel":"Religion"}},{"name":"url","value":{"title":"Sociology","url":"/core/elements/subject/Sociology/0E2CD53A93003DF17E52D753F6E90683","ariaLabel":"Sociology"}},{"name":"url","value":{"title":"Statistics and Probability","url":"/core/elements/subject/Statistics%20and%20Probability/3150B8B0D1B0B4E8DC17EC9EDFD9CA26","ariaLabel":"Statistics and Probability"}}],"slug":"elements"}},{"name":"navigationBarArea","value":{"title":"Textbooks","hubPage":{"name":"url","value":{"title":"Textbooks","url":"/core/publications/textbooks","ariaLabel":"Textbooks"}},"column1Heading":"Explore","column1StaticPagesOrUrls":[{"name":"url","value":{"title":"Cambridge Higher Education","url":"/highereducation/","ariaLabel":"Cambridge Higher Education"}},{"name":"url","value":{"title":"Title list","url":"/highereducation/services/librarians/title-list","ariaLabel":"Title list"}},{"name":"url","value":{"title":"New titles","url":"/highereducation/search?sortBy=publication_date&aggs=%24productDate%24Last%25206%2520months%3Atrue%26Last%252012%2520months%3Atrue%26Last%25203%2520years%3Atrue%26Over%25203%2520years%3Atrue%3B%3B&event=SE-AU_PREF","ariaLabel":"New titles"}}],"slug":"textbooks"}},{"name":"navigationBarArea","value":{"title":"Collections","hubPage":{"name":"url","value":{"title":"Collections","url":"/core/publications/collections","ariaLabel":"Collections"}},"column1Heading":"Book collections","column1StaticPagesOrUrls":[{"name":"url","value":{"title":"Cambridge Companions","url":"/core/publications/collections/cambridge-companions","ariaLabel":"Cambridge Companions"}},{"name":"url","value":{"title":"Cambridge Editions","url":"/core/publications/collections/cambridge-editions","ariaLabel":"Cambridge Editions"}},{"name":"url","value":{"title":"Cambridge Histories","url":"/core/publications/collections/cambridge-histories","ariaLabel":"Cambridge Histories"}},{"name":"url","value":{"title":"Cambridge Library Collection","url":"/core/publications/collections/cambridge-library-collection","ariaLabel":"Cambridge Library Collection"}},{"name":"url","value":{"title":"Cambridge Shakespeare","url":"/core/publications/collections/cambridge-shakespeare","ariaLabel":"Cambridge Shakespeare"}},{"name":"url","value":{"title":"Cambridge Handbooks","url":"/core/publications/collections/cambridgehandbooks","ariaLabel":"Cambridge Handbooks"}}],"column2Heading":" Book collections (cont.)","column2StaticPagesOrUrls":[{"name":"url","value":{"title":"Dispute Settlement Reports Online","url":"/core/publications/collections/dispute-settlement-reports-online","ariaLabel":"Dispute Settlement Reports Online"}},{"name":"url","value":{"title":"Flip it Open","url":"/core/publications/collections/flip-it-open","ariaLabel":"Flip it Open"}},{"name":"url","value":{"title":"Hemingway Letters","url":"/core/publications/collections/hemingway-letters","ariaLabel":"Hemingway Letters"}},{"name":"url","value":{"title":"Shakespeare Survey","url":"/core/publications/collections/shakespeare-survey","ariaLabel":"Shakespeare Survey"}},{"name":"url","value":{"title":"Stahl Online","url":"/core/publications/collections/stahl-online","ariaLabel":"Stahl Online"}},{"name":"url","value":{"title":"The Correspondence of Isaac Newton","url":"/core/publications/collections/the-correspondence-of-isaac-newton","ariaLabel":"The Correspondence of Isaac Newton"}}],"column3Heading":"Journal collections","column3StaticPagesOrUrls":[{"name":"url","value":{"title":"Cambridge Forum","url":"/core/publications/collections/cambridge-forum","ariaLabel":"Cambridge Forum"}},{"name":"url","value":{"title":"Cambridge Law Reports Collection","url":"/core/publications/collections/cambridge-law-reports-collection","ariaLabel":"Cambridge Law Reports Collection"}},{"name":"url","value":{"title":"Cambridge Prisms","url":"/core/publications/collections/cambridge-prisms","ariaLabel":"Cambridge Prisms"}},{"name":"url","value":{"title":"Research Directions","url":"/core/publications/collections/research-directions","ariaLabel":"Research Directions"}}],"column4Heading":"Series","column4StaticPagesOrUrls":[{"name":"url","value":{"title":"All series","url":"/core/publications/collections/series","ariaLabel":"All series"}}],"slug":"collections"}},{"name":"navigationBarArea","value":{"title":"Partners","hubPage":{"name":"url","value":{"title":"Publishing partners","url":"/core/publications/publishing-partners","ariaLabel":"Publishing partners"}},"column1Heading":"Partners","column1StaticPagesOrUrls":[{"name":"url","value":{"title":"Agenda Publishing","url":"/core/publications/publishing-partners/agenda-publishing","ariaLabel":"Agenda Publishing"}},{"name":"url","value":{"title":"Amsterdam University Press","url":"/core/publications/publishing-partners/amsterdam-university-press","ariaLabel":"Amsterdam University Press"}},{"name":"url","value":{"title":"Anthem Press","url":"/core/publications/publishing-partners/anthem-press","ariaLabel":"Anthem Press"}},{"name":"url","value":{"title":"Boydell & Brewer","url":"/core/publications/publishing-partners/boydell-brewer","ariaLabel":"Boydell & Brewer"}},{"name":"url","value":{"title":"Bristol University Press","url":"/core/publications/publishing-partners/bristol-university-press","ariaLabel":"Bristol University Press"}},{"name":"url","value":{"title":"Edinburgh University Press","url":"/core/publications/publishing-partners/edinburgh-university-press","ariaLabel":"Edinburgh University Press"}},{"name":"url","value":{"title":"Emirates Center for Strategic Studies and Research","url":"/core/publications/publishing-partners/emirates-center","ariaLabel":"Emirates Center for Strategic Studies and Research"}},{"name":"url","value":{"title":"Facet Publishing","url":"/core/publications/publishing-partners/facet-publishing","ariaLabel":"Facet Publishing"}}],"column2Heading":" Partners (cont.)","column2StaticPagesOrUrls":[{"name":"url","value":{"title":"Foundation Books","url":"/core/publications/publishing-partners/foundation-books","ariaLabel":"Foundation Books"}},{"name":"url","value":{"title":"Intersentia","url":"/core/publications/publishing-partners/intersentia","ariaLabel":"Intersentia"}},{"name":"url","value":{"title":"ISEAS-Yusof Ishak Institute","url":"/core/publications/publishing-partners/iseas","ariaLabel":"ISEAS-Yusof Ishak Institute"}},{"name":"url","value":{"title":"Jagiellonian University Press","url":"/core/publications/publishing-partners/jagiellonian-university-press","ariaLabel":"Jagiellonian University Press"}},{"name":"url","value":{"title":"Royal Economic Society","url":"/core/publications/publishing-partners/royal-economic-society","ariaLabel":"Royal Economic Society"}},{"name":"url","value":{"title":"Unisa Press","url":"/core/publications/publishing-partners/unisa-press","ariaLabel":"Unisa Press"}},{"name":"url","value":{"title":"The University of Adelaide Press","url":"/core/publications/publishing-partners/university-adelaide-press","ariaLabel":"The University of Adelaide Press"}},{"name":"url","value":{"title":"Wits University Press","url":"/core/publications/publishing-partners/wits-university-press","ariaLabel":"Wits University Press"}}],"slug":"partners"}}]}},{"name":"navigationBarCategory","value":{"title":"Services","navigationBarArea":[{"name":"navigationBarArea","value":{"title":"About","hubPage":{"name":"staticPage","value":{"pageTitle":"About","pageBlurb":"Cambridge Core is the home of academic content from Cambridge University Press. Built with our users in mind our online platform has been designed to help readers and researchers to make fast and easy journeys to a vast range of valuable content. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"about","introTitle":"About","introText":"Cambridge Core is the home of academic content from Cambridge University Press. Built with our users in mind our online platform has been designed to help readers and researchers to make fast and easy journeys to a vast range of valuable content.","contentBlocks":[],"areas":["about"]}},"column1Heading":"About Cambridge Core","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"About","pageBlurb":"Cambridge Core is the home of academic content from Cambridge University Press. Built with our users in mind our online platform has been designed to help readers and researchers to make fast and easy journeys to a vast range of valuable content. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"about","introTitle":"About","introText":"Cambridge Core is the home of academic content from Cambridge University Press. Built with our users in mind our online platform has been designed to help readers and researchers to make fast and easy journeys to a vast range of valuable content.","contentBlocks":[],"areas":["about"]}},{"name":"staticPage","value":{"pageTitle":"Accessibility","pageBlurb":"We want everyone who visits Cambridge Core to feel welcome and find the experience rewarding.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"accessibility","introTitle":"Accessibility","contentBlocks":[],"areas":["about"]}},{"name":"staticPage","value":{"pageTitle":"CrossMark policy","pageBlurb":"By applying the CrossMark logo, Cambridge University Press is committing to maintaining the content it publishes and to alerting readers to changes if and when they occur. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"crossmark-policy","introTitle":"CrossMark policy","introText":"CrossMark is a multi-publisher initiative to provide a standard way for readers to locate the current version of a piece of content. By applying the CrossMark logo, Cambridge University Press is committing to maintaining the content it publishes and to alerting readers to changes if and when they occur. Clicking on the CrossMark logo will tell you the current status of a document and may also give you additional publication record information about the document.","areas":["about"]}},{"name":"staticPage","value":{"pageTitle":"Ethical Standards","pageBlurb":"As a leading publisher of scholarly journals and books, Cambridge University Press is committed to meeting high standards of ethical behaviour at all stages of the publication process. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"ethical-standards","introTitle":"Ethical Standards","contentBlocks":[],"areas":["about"]}}],"column2Heading":"Environment and sustainability","column2StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Environment and sustainability","pageBlurb":"At Cambridge, we publish research and share knowledge that informs, educates, and inspires others to drive positive environmental change.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"environment-and-sustainability","introTitle":"Environment and sustainability","introText":"At Cambridge, we publish research and share knowledge that informs, educates, and inspires others to drive positive environmental change.","contentBlocks":[],"areas":["about"]}},{"name":"staticPage","value":{"pageTitle":"Reducing print","pageBlurb":"As a department of the University of Cambridge, we are committed to reducing our carbon footprint. A significant reduction to the print component of our journals publishing activity will be a key element of realising this commitment. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"reducing-print","introTitle":"Reducing print","introText":"As a department of the University of Cambridge, we are committed to reducing our carbon footprint. A significant reduction to the print component of our journals publishing activity will be a key element of realising this commitment. ","contentBlocks":[],"areas":["about"]}},{"name":"staticPage","value":{"pageTitle":"Journals moving to online only","pageBlurb":"As we work to reduce print in our journal publishing, more of our journals are moving to online only.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"journals-moving-to-online-only","introTitle":"Journals moving to online only","introText":"As we work to reduce print in our journal publishing, more of our journals are moving to online only.","contentBlocks":[],"areas":["about"]}}],"column3Heading":"Guides","column3StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"User guides","pageBlurb":"Below you will find a range of video user guides to help you navigate and use accounts on Cambridge Core.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"user-guides","introTitle":"User guides","introText":"Below you will find a range of video user guides to help you navigate and use accounts on Cambridge Core.","contentBlocks":[],"areas":["about"]}},{"name":"staticPage","value":{"pageTitle":"User Guides and Videos","pageBlurb":"The content in the page offers video guidance to help you make full use of the features available on Cambridge Core.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"user-guides-and-videos","introTitle":"User Guides and Videos","contentBlocks":[],"areas":["about"]}},{"name":"staticPage","value":{"pageTitle":"Support Videos","pageBlurb":"For helpful content to support your Transformative Agreement for librarians and administrators, check out our LIVE WORKSHOP recording and slide deck below.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"support-videos","introTitle":"Support Videos","contentBlocks":[],"areas":["about"]}},{"name":"staticPage","value":{"pageTitle":"Training","pageBlurb":"Welcome to Training Services for Cambridge Core. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"training","introTitle":"Training","introText":"Welcome to Training Services for Cambridge Core! ","contentBlocks":[],"areas":["about"]}}],"column4Heading":"Help","column4StaticPagesOrUrls":[{"name":"url","value":{"title":"Cambridge Core help","url":"https://corehelp.cambridge.org/","ariaLabel":"Cambridge Core help pages"}},{"name":"url","value":{"title":"Contact us","url":"https://corehelp.cambridge.org/hc/en-gb/p/contact-information","ariaLabel":"This will take you to a contact form for technical support","pageBlurb":"Visit our knowledge bases and contact our Technical Support team for direct help and support with any technical issues or questions you may have","thumbnailImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}}}},{"name":"url","value":{"title":"Technical support","url":"https://corehelp.cambridge.org/hc/en-gb/requests/new","ariaLabel":"Technical support diagnostics report"}}],"slug":"about"}},{"name":"navigationBarArea","value":{"title":"Agents","hubPage":{"name":"staticPage","value":{"pageTitle":"Services for agents","pageBlurb":"Cambridge University Press is pleased to work with subscription agents in every country, whether those agents are multinational or specialised local companies.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"services-for-agents","introTitle":"Services for agents","contentBlocks":[],"areas":["agents"]}},"column1Heading":"Services for agents","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Services for agents","pageBlurb":"Cambridge University Press is pleased to work with subscription agents in every country, whether those agents are multinational or specialised local companies.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"services-for-agents","introTitle":"Services for agents","contentBlocks":[],"areas":["agents"]}},{"name":"staticPage","value":{"pageTitle":"Journals for agents","pageBlurb":"Cambridge is pleased to work with subscription agents in every country, whether those agents are multinational or specialised local companies. We now offer full content access to all Cambridge journals on Cambridge Core, including back issues.","linkImage":{"title":"GettyImages-2148427272","description":"A row of books on a metal, library style, bookshelf. the books are view from the rear and a hand is reaching and picking a book.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1BYMYdALXI4YZz9sJKegO1/0c50d6ede207418c796a9b5691b5c20a/GettyImages-2148427272.jpg","details":{"size":185617,"image":{"width":1536,"height":1024}},"fileName":"GettyImages-2148427272.jpg","contentType":"image/jpeg"}},"altText":"A row of books on a metal, library style, bookshelf. the books are view from the rear and a hand is reaching and picking a book.","slug":"journals-for-agents","introTitle":"Journals for agents","introText":"Cambridge is pleased to work with subscription agents in every country, whether those agents are multinational or specialised local companies. We now offer full content access to all Cambridge journals on Cambridge Core, including access to back issues.","contentBlocks":[],"areas":["agents"]}},{"name":"staticPage","value":{"pageTitle":"Books for agents","pageBlurb":"There are a number of different ebook purchasing options available on Cambridge Core to suit all your needs.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"books-for-agents","introTitle":"Books for agents","introText":"There are a number of different ebook purchasing options available on Cambridge Core to suit all your needs.","contentBlocks":[],"areas":["agents"]}},{"name":"staticPage","value":{"pageTitle":"Price list","pageBlurb":"Cambridge University Press 2025 price lists for journals, books and Elements. For subscription agents and academic institutions.","linkImage":{"title":"GettyImages-2148427272","description":"A row of books on a metal, library style, bookshelf. the books are view from the rear and a hand is reaching and picking a book.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1BYMYdALXI4YZz9sJKegO1/0c50d6ede207418c796a9b5691b5c20a/GettyImages-2148427272.jpg","details":{"size":185617,"image":{"width":1536,"height":1024}},"fileName":"GettyImages-2148427272.jpg","contentType":"image/jpeg"}},"altText":"A row of books on a metal, library style, bookshelf. the books are view from the rear and a hand is reaching and picking a book.","slug":"price-list","introTitle":"Price list","introText":"Cambridge University Press 2025 price lists for journals, books and Elements. For subscription agents and academic institutions.","contentBlocks":[],"areas":["librarians","agents"]}}],"slug":"agents"}},{"name":"navigationBarArea","value":{"title":"Authors","hubPage":{"name":"staticPage","value":{"pageTitle":"Authors","pageBlurb":"Cambridge University Press works closely with the global academic community to deliver the highest quality, peer-reviewed content, as well as a portfolio of innovative tools and services to advance learning and research.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"authors","introTitle":"Authors","introText":"Cambridge University Press works closely with the global academic community to deliver the highest quality, peer-reviewed content, as well as a portfolio of innovative tools and services to advance learning and research.","contentBlocks":[],"areas":[]}},"column1Heading":"Journals","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Journals","pageBlurb":"Cambridge University Press is proud to publish many of the world's leading journals across a wide range of subject areas in the humanities, social sciences and STM fields. We currently publish more than 400 peer-reviewed academic journals.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"journals","introTitle":"Journals","introText":"Cambridge University Press is proud to publish many of the world's leading journals across a wide range of subject areas in the humanities, social sciences and STM fields. We currently publish more than 400 peer-reviewed academic journals.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Journal publishing statistics","pageBlurb":"During 2022 we are updating our journal home pages to provide new statistics on each journal's publishing activity. On this page we provide some information about how these statistics are calculated.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"journal-publishing-statistics","introTitle":"Journal publishing statistics","introText":"During 2022 we are updating our journal home pages to provide new statistics on each journal's publishing activity. On this page we provide some information about how these statistics are calculated.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Corresponding author","pageBlurb":"The Corresponding Author is the person who handles the manuscript and correspondence during the publication process, including approving the article proofs.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"corresponding-author","introTitle":"Corresponding author","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Seeking permission to use copyrighted material","pageBlurb":"If your article contains any material in which you do not own copyright, including figures, charts, tables, photographs or excerpts of text, you must obtain permission from the copyright holder to reuse that material.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"seeking-permission-to-use-copyrighted-material","introTitle":"Seeking permission to use copyrighted material","introText":"If your article contains any material in which you do not own copyright, including figures, charts, tables, photographs or excerpts of text, you must obtain permission from the copyright holder to reuse that material. As the author it is your responsibility to obtain this permission and pay any related fees, and you will need to send us a copy of each permission statement at acceptance.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Publishing supplementary material","pageBlurb":"Supplementary materials are hosted online with the main article, and can include data sets, video files, sound clips, figures or tables.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"publishing-supplementary-material","introTitle":"Publishing supplementary material","introText":"Many of our journals encourage authors to submit and publish supplementary materials that are not essential for inclusion or cannot be accommodated in the main article, but would be of benefit to the reader. Supplementary materials are hosted online with the main article, and can include data sets, video files, sound clips, figures or tables. The main text of the article should stand alone without the supplementary material.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Writing an effective abstract","pageBlurb":"The title, abstract, and keywords you select for your manuscript play an important part in the discovery of your article after publication. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"writing-an-effective-abstract","introTitle":"Writing an effective abstract","introText":"The title, abstract, and keywords you select for your manuscript play an important part in the discovery of your article after publication. Since many researchers rely on search engines such as Google to find content relevant to their field, the careful selection of keywords in all of these can have a large impact on the life of an article, extending from readership through citation.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Journal production - FAQs","pageBlurb":"If you have any questions on the production of your article check out our frequently asked questions.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"journal-production-faqs","introTitle":"Journal production - FAQs","introText":"Please click on a question below to go directly to the answer. If your question is not covered here, please direct it to your chosen journal’s editor or content manager.","contentBlocks":[],"areas":["authors"]}}],"column2Heading":"Journals (cont.)","column2StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Author affiliations","pageBlurb":"Author affiliations FAQs. A guide to determining, submitting and the display of your affiliations as a Cambridge journal author.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"author-affiliations","introTitle":"Author affiliations","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Co-reviewing policy","pageBlurb":"In journals that allow co-reviewing, an invited reviewer can work with a more junior colleague to review a manuscript for the purpose of reviewer training.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"co-reviewing-policy","introTitle":"Co-reviewing policy","introText":"In journals that allow co-reviewing, an invited reviewer can work with a more junior colleague to review a manuscript for the purpose of reviewer training. This allows the co-reviewer to gain experience with the review process and become a viable reviewer for a journal.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Digital Author Publishing Agreement - FAQs","pageBlurb":"Find out more about our digital author publishing agreements by checking out our frequently asked questions. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"digital-author-publishing-agreement-faqs","introTitle":"Digital Author Publishing Agreement FAQs","introText":"Click on a question below to see the corresponding answer. If your question is not covered here, please direct it to our author contracts team.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Anonymising your manuscript","pageBlurb":"To maintain this anonymity, authors will need to remove any details that may reveal their identity from their manuscript, before it is reviewed.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"anonymising-your-manuscript","introTitle":"Anonymising your manuscript","introText":"Some of our journals use a double-anonymous peer review process, meaning neither the author nor the reviewers know the identity of each other. To maintain this anonymity, authors will need to remove any details that may reveal their identity from their manuscript, before it is reviewed.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Publishing open access","pageBlurb":"Publishing your research Gold Open Access (Gold OA) helps to advance discovery by allowing anyone, anywhere to find, read, and benefit from your research.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"publishing-open-access","introTitle":"Publishing open access","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Converting your article to open access","pageBlurb":"Find information about publishing your article as open access","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"converting-your-article-to-open-access","introTitle":"Converting your article to open access","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Publishing Open Access - webinars","pageBlurb":"This session focuses on the basics of Open Access (OA) and presents evidence of the increased impact of choosing this option.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"publishing-open-access-webinars","introTitle":"Publishing Open Access - webinars","contentBlocks":[],"areas":["authors"]}}],"column3Heading":"Journals (cont.)","column3StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Preparing and submitting your paper","pageBlurb":"Each journal published by Cambridge University Press is unique, pursuing a specific set of editorial aims.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"preparing-and-submitting-your-paper","introTitle":"Preparing and submitting your paper","introText":"Each journal published by Cambridge University Press is unique, pursuing a specific set of editorial aims. We strongly encourage authors to read the Instructions for Contributors document associated with their chosen journal as early as possible during the manuscript preparation process, to ensure full understanding of the journal's audience and scope. This document can be found via the homepage of each journal on Cambridge Core.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Publishing an accepted paper","pageBlurb":"Once a paper is accepted by a journal's editor(s) it will be sent to Cambridge University Press to be prepared for publication. Efficiency, accuracy and quality are at the heart of this process.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"publishing-an-accepted-paper","introTitle":"Publishing an accepted paper","introText":"Once a paper is accepted by a journal's editor(s) it will be sent to Cambridge University Press to be prepared for publication. Efficiency, accuracy and quality are at the heart of this process. Authors will have access to a dedicated content manager, who will be available to answer questions and offer support as their article progresses through the steps towards publication.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Promoting your published paper","pageBlurb":"Cambridge University Press is committed to making sure your paper reaches a broad international audience in order to maximise its scholarly impact. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"promoting-your-published-paper","introTitle":"Promoting your published paper","introText":"Cambridge University Press is committed to making sure your paper reaches a broad international audience in order to maximise its scholarly impact. Our marketing team runs regular promotions through a wide variety of marketing channels and Cambridge Core is designed to make your article easy to discover, access, read and cite.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Measuring impact","pageBlurb":"This page explains the most common metrics used within scholarly publishing to measure impact at a journal level.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"measuring-impact","introTitle":"Measuring impact","introText":"This page explains the most common metrics used within scholarly publishing to measure impact at a journal level.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Journals artwork guide","pageBlurb":"This guide will explain how to effectively prepare your artwork for electronic submission to our journals. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"journals-artwork-guide","introTitle":"Journals artwork guide","introText":"Submitting your illustrations, pictures and other artwork (such as multimedia and supplementary files) in an electronic format helps us produce your work to the best possible standards, ensuring accuracy, clarity, accessibility, and a high level of detail.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Using ORCID","pageBlurb":"ORCID is a not-for-profit organization governed by an elected board. It provides a persistent digital identifier (an ORCID ID) for individual researchers.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"using-orcid","introTitle":"Using ORCID","introText":"ORCID is a not-for-profit organization governed by an elected board. It provides a persistent digital identifier (an ORCID ID) for individual researchers, and a registry of those identifiers, to support automated linkages between researchers and their professional activities and affiliations, through integration in research workflows such as manuscript and grant submission.","contentBlocks":[],"areas":["authors"]}}],"column4Heading":"Books","column4StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Books","pageBlurb":"Cambridge University Press works closely with the global academic community to deliver the highest quality, peer-reviewed content, as well as a portfolio of innovative tools and services to advance learning and research.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"books","introTitle":"Books","introText":"Cambridge University Press works closely with the global academic community to deliver the highest quality, peer-reviewed content, as well as a portfolio of innovative tools and services to advance learning and research. Together with Cambridge University, our mission is to advance the work of researchers, students, lecturers, and librarians worldwide.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Marketing your book","pageBlurb":"Cambridge provides marketing support across all relevant channels and will work closely with your Editor and the Sales team to ensure that your book reaches its target audience.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"marketing-your-book","introTitle":"Marketing your book","introText":"You will be assigned a dedicated Marketing Specialist who will be in touch soon to discuss the marketing plans for your book. They will provide marketing support across all relevant channels and will work closely with your Editor and the Sales team to ensure that your book reaches its target audience.","contentBlocks":[],"areas":["authors"]}},{"name":"staticPage","value":{"pageTitle":"Author guides for Cambridge Elements","pageBlurb":"Cambridge Elements user guides. Author guides, FAQs and style guides: find all the information about writing Cambridge Elements here.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"elements-user-guides","introTitle":"User guides for Cambridge Elements","introText":"Cambridge Elements user guides. Author guides, FAQs and style guides: find all the information about writing Cambridge Elements here.","contentBlocks":[],"areas":["authors"]}}],"slug":"authors"}},{"name":"navigationBarArea","value":{"title":"Corporates","hubPage":{"name":"staticPage","value":{"pageTitle":"Services for corporates","pageBlurb":"Discover more about commercial reprints, advertising, sponsorship, special sales, foreign rights and permissions.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"services-for-corporates","introTitle":"Services for corporates","contentBlocks":[],"areas":[]}},"column1Heading":"Corporates","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Commercial reprints","pageBlurb":"Providing hard copy and electronic reprints of articles in the majority of our journals. Our commercial sales team can provide quotes for permission to translate articles and the reuse of our journal content for a corporate client.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"commercial-reprints","introTitle":"Commercial reprints","introText":"Cambridge University Press provides hard copy and electronic reprints of articles in the majority of our journals. Our commercial sales team can also provide quotes for permission to translate articles and any other permission that involves the reuse of our journal content for a corporate client.","contentBlocks":[],"areas":["corporates"]}},{"name":"staticPage","value":{"pageTitle":"Advertising","pageBlurb":"With over 400 titles to choose from, our extensive list of journals – spanning 45 subject areas – means you will always reach your target audience.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"advertising","introTitle":"Advertising","introText":"With over 400 titles to choose from, our extensive list of journals – spanning 45 subject areas – means you will always reach your target audience.","contentBlocks":[],"areas":["corporates"]}},{"name":"staticPage","value":{"pageTitle":"Sponsorship","pageBlurb":"Sponsorship of journals, supplements, special or themed issues, collections and questions allows your organisation to work with Cambridge University Press Publishing.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"sponsorship","introTitle":"Sponsorship","introText":"Sponsorship of journals, supplements, special or themed issues, collections and questions allows your organisation to work with Cambridge University Press Publishing.","contentBlocks":[],"areas":["corporates"]}},{"name":"staticPage","value":{"pageTitle":"Book special sales","pageBlurb":"We offer a range of flexible print and digital customisation options to suit your organization’s needs.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"book-special-sales","introTitle":"Book special sales","introText":"We offer a range of flexible print and digital customisation options to suit your organization’s needs, working with not-for-profit organisations, educational institutions, corporate customers and pharmaceutical companies to creating co-branded editions with our partners.","contentBlocks":[],"areas":["corporates"]}},{"name":"staticPage","value":{"pageTitle":"Contact us","pageBlurb":"Contact Cambridge University Press for Book special sales, advertising, sponsorship and commercial reprints.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"contact-us","introTitle":"Contact us","introText":"Contact Cambridge University Press for Book special sales, advertising, sponsorship and commercial reprints.","contentBlocks":[],"areas":["corporates"]}}],"slug":"corporates"}},{"name":"navigationBarArea","value":{"title":"Editors","hubPage":{"name":"staticPage","value":{"pageTitle":"Editors","pageBlurb":"EditorTo empower our editors as advocates we provide dedicated tools, support and training throughout the publishing process, to raise journal visibility and cement its reputation in the field.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"editors","introTitle":"Editors","introText":"Editors make important contributions to the research community and ensure their journals feature work of the highest calibre. To empower our editors as advocates we provide dedicated tools, support and training throughout the publishing process, to raise journal visibility and cement its reputation in the field.","contentBlocks":[],"areas":[]}},"column1Heading":"Information","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Journal development","pageBlurb":"The editor is the journal’s ambassador, here are some of the ways to support the journal's development.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"journal-development","introTitle":"Journal development","introText":"Supporting the journal. The editor is the journal’s ambassador, here are some of the ways to support the journal's development:","contentBlocks":[],"areas":["editors"]}},{"name":"staticPage","value":{"pageTitle":"Peer review for editors","pageBlurb":"An Online Peer Review System (OPRS), works to help editors carry out the peer review process. A submission is anonymised before being uploaded to allow for unbiased assessment. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"peer-review-for-editors","introTitle":"Peer review for editors","introText":"An Online Peer Review System (OPRS), works to help editors carry out the peer review process. A submission is anonymised before being uploaded to allow for unbiased assessment. ","contentBlocks":[],"areas":["editors"]}},{"name":"staticPage","value":{"pageTitle":"Open access for editors","pageBlurb":"Open access (OA) is an important way to make research findings freely available for anyone to access and view.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"open-access-for-editors","introTitle":"Open access for editors","contentBlocks":[],"areas":["editors"]}},{"name":"staticPage","value":{"pageTitle":"Policies and guidelines","pageBlurb":"At Cambridge University Press, the integrity of our academic content and publishing process is paramount, and as our editors, you are our partners in supporting this mission. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"policies-and-guidelines","introTitle":"Policies and guidelines","introText":"At Cambridge University Press, the integrity of our academic content and publishing process is paramount, and as our editors, you are our partners in supporting this mission. ","contentBlocks":[],"areas":["editors"]}}],"column2Heading":"Resources","column2StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"The editor's role","pageBlurb":"Our editors ensure that their journals continue to evolve and have an impact on their research field.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"the-editors-role","introTitle":"The editor's role","contentBlocks":[],"areas":["editors"]}},{"name":"staticPage","value":{"pageTitle":"Open research for editors","pageBlurb":"Open research refers to a range of practices that are dramatically improving how researchers are publishing and sharing their work.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"open-research-for-editors","introTitle":"Open research for editors","contentBlocks":[],"areas":["editors"]}},{"name":"staticPage","value":{"pageTitle":"Engagement and promotion","pageBlurb":"There are a number of ways an editor can support the visibility and dissemination of their journal(s).","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"engagement-and-promotion","introTitle":"Engagement and promotion","contentBlocks":[],"areas":["editors"]}},{"name":"staticPage","value":{"pageTitle":"Blogging","pageBlurb":"Blogs are great for profiling new and exciting research or features in the journal. It is also a key way to attract search traffic.","linkImage":{"title":"A Guide to Blogging","description":"","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/5sLUiDKTGCXxU9GKcPcHSA/36bf1c9ca78ae1e2a47293d27fb32647/A_Guide_to_Blogging.png","details":{"size":56411,"image":{"width":1824,"height":894}},"fileName":"A Guide to Blogging.png","contentType":"image/png"}},"altText":"Editor Resources A Guide to Blogging","slug":"blogging","introTitle":"Blogging","introText":"Blogs are great for profiling new and exciting research or features in the journal. It is also a key way to attract search traffic.","contentBlocks":[],"areas":["editors"]}},{"name":"staticPage","value":{"pageTitle":"Social media","pageBlurb":"Social media is a great way to raise the profile and visibility of your journal. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"social-media","introTitle":"Social media","introText":"Social media is a great way to raise the profile and visibility of your journal. ","contentBlocks":[],"areas":["editors"]}}],"slug":"editors"}},{"name":"navigationBarArea","value":{"title":"Librarians","hubPage":{"name":"staticPage","value":{"pageTitle":"Librarians","pageBlurb":"Cambridge Core has primarily been designed to help your readers and researchers to make fast and easy journeys to valuable content.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"librarians","introTitle":"Librarians","contentBlocks":[],"areas":[]}},"column1Heading":"Information","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Open Access for Librarians","pageBlurb":"Welcome to your librarian hub for Open Access at Cambridge University Press. Open Access (OA) can be quite daunting, so we've created this page to help you navigate our different resources.","linkImage":{"title":"OA Librarian Website Header Banner","description":"","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/6eyfpqZUi4KEeOt7lsGKJg/41ef6beae2eee1a8304a95313aa08b64/OA-Librarian-Website-Header-Banner-Image-1-1500x300.jpg","details":{"size":348959,"image":{"width":1500,"height":300}},"fileName":"OA-Librarian-Website-Header-Banner-Image-1-1500x300.jpg","contentType":"image/jpeg"}},"altText":"Open Access for Librarians: get all your information about OA from Cambridge","slug":"open-access-for-librarians","introTitle":"Open Access for Librarians","introText":"Welcome to your librarian hub for Open Access at Cambridge University Press. Open Access (OA) can be quite daunting, so we've created this page to help you navigate our different resources. Learn about our OA policies, what we publish OA and how you can support your institution when publishing OA journals, books, monographs and Elements.","contentBlocks":[],"areas":["librarians"]}},{"name":"url","value":{"title":"Transformative agreements","url":"https://www.cambridge.org/core/services/open-access-policies/read-and-publish-agreements","ariaLabel":"Transformative agreements"}},{"name":"staticPage","value":{"pageTitle":"Transformative Agreements - FAQs","pageBlurb":"A transformative agreement is the combined provision of two services for one cost: OA publishing and reading access to all subscription journals.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"transformative-agreements-faqs","introTitle":"Transformative Agreements - FAQs","introText":"A transformative agreement is the combined provision of two services for one cost: OA publishing and reading access to all subscription journals.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Evidence based acquisition","pageBlurb":"Academic institutions can access Cambridge University Press ebook collections via an EBA - access more than 50,000 titles published by Cambridge and our publishing partners, before making decisions on which titles to buy in perpetuity. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"evidence-based-acquisition","introTitle":"Evidence based acquisition","introText":"Academic institutions can now access Cambridge University Press ebook collections via an EBA. Under this model, institutions are given access to an extensive online collection of more than 50,000 titles published by Cambridge and our publishing partners, before making decisions on which titles to buy in perpetuity. ","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"ebook news & updates","pageBlurb":"Welcome to your Cambridge University Press ebooks hub. This is your single reference page where you can learn the latest news on ebooks and Cambridge Core platform updates. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"ebook-news-and-updates","introTitle":"ebook news & updates","introText":"Welcome to your Cambridge University Press ebooks hub. This is your single reference page where you can learn the latest news on ebooks and Cambridge Core platform updates. ","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Cambridge libraries of the world podcast","pageBlurb":"A brand-new podcast series for librarians to listen to and learn about topics at the heart of academic discourse, via interviews conducted with professors, researchers, students, librarians, and Cambridge personnel.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"cambridge-libraries-of-the-world-podcast","introTitle":"Cambridge libraries of the world podcast","introText":"A brand-new podcast series for librarians to listen to and learn about topics at the heart of academic discourse, via interviews conducted with professors, researchers, students, librarians, and Cambridge personnel. ","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Purchasing models","pageBlurb":"Discover more about the purchasing options available to institutions for the content hosted on Cambridge Core.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"purchasing-models","introTitle":"Purchasing models","introText":"Below are a number of different purchasing options available to institutions for the content hosted on Cambridge Core.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Journals Publishing Updates","pageBlurb":"Another year of development for Cambridge University Press's journals publishing sees big changes coming for 2025.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"journals-publishing-updates","introTitle":"Journals Publishing Updates","introText":"Another year of development for Cambridge University Press's journals publishing sees big changes coming for 2025. Below is a preview of our list changes, including our new titles, titles that are converting to an open access publishing model, and details of our new series.","contentBlocks":[],"areas":["librarians"]}}],"column2Heading":"Products","column2StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Cambridge frontlist","pageBlurb":"Our 2024 ebook collection contains the most recent, award-winning publishing from Cambridge University Press.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"cambridge-frontlist","introTitle":"Cambridge frontlist","introText":"Our 2024 ebook collection contains the most recent, award-winning publishing from Cambridge University Press.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Cambridge journals digital archive","pageBlurb":"The Cambridge journals digital archive provides instant online access to two centuries of academic excellence and publishing history from Cambridge University Press. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"cambridge-journals-digital-archive","introTitle":"Cambridge journals digital archive","introText":"The Cambridge journals digital archive provides instant online access to two centuries of academic excellence and publishing history from Cambridge University Press. Our constantly growing digital archive takes knowledge off the shelf and makes it readily available online, alongside our current Cambridge Core content.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Hot topics","pageBlurb":"Hot Topics from Cambridge are a series of bespoke ebook collections reflecting the latest research trends.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"hot-topics","introTitle":"Hot topics","introText":"Hot Topics from Cambridge are a series of bespoke ebook collections comprising titles from across a wide range of subjects, created to reflect the latest research trends. Drawing from the humanities and social sciences, in addition to the science, technology and medical disciplines, the collections highlight Cambridge’s depth of publishing.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Other digital products","pageBlurb":"Cambridge University Press publishes a wide variety of academic content online, some of which currently sits on other platforms.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"other-digital-products","introTitle":"Other digital products","introText":"Cambridge University Press publishes a wide variety of academic content online, some of which currently sits on other platforms.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Perpetual access products","pageBlurb":"Gain perpetual access to Cambridge University Press resources for a one-time payment. Details of products an offers can be found on this page.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"perpetual-access-products","introTitle":"Perpetual access products","introText":"Gain perpetual access to Cambridge University Press resources for a one-time payment. Details of products an offers can be found on this page.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Price list","pageBlurb":"Cambridge University Press 2025 price lists for journals, books and Elements. For subscription agents and academic institutions.","linkImage":{"title":"GettyImages-2148427272","description":"A row of books on a metal, library style, bookshelf. the books are view from the rear and a hand is reaching and picking a book.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1BYMYdALXI4YZz9sJKegO1/0c50d6ede207418c796a9b5691b5c20a/GettyImages-2148427272.jpg","details":{"size":185617,"image":{"width":1536,"height":1024}},"fileName":"GettyImages-2148427272.jpg","contentType":"image/jpeg"}},"altText":"A row of books on a metal, library style, bookshelf. the books are view from the rear and a hand is reaching and picking a book.","slug":"price-list","introTitle":"Price list","introText":"Cambridge University Press 2025 price lists for journals, books and Elements. For subscription agents and academic institutions.","contentBlocks":[],"areas":["librarians","agents"]}},{"name":"staticPage","value":{"pageTitle":"Developing country programme","pageBlurb":"Cambridge University Press has been working to improve the lives of people living in less economically developed parts of the world for nearly 500 years.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"developing-country-programme","introTitle":"Developing country programme","introText":"Cambridge University Press has been working to improve the lives of people living in less economically developed parts of the world for nearly 500 years.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"New content","pageBlurb":"Discover new books and journals published by Cambridge University Press on Cambridge Core. Including information on titles moving to online only.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"new-content","introTitle":"New content","introText":"Discover new books and journals published by Cambridge University Press on Cambridge Core. Including information on titles moving to online only.","contentBlocks":[],"areas":["librarians"]}}],"column3Heading":"Tools","column3StaticPagesOrUrls":[{"name":"url","value":{"title":"Eligibility checker","url":"/core/eligibility-checker","ariaLabel":"Eligibility checker"}},{"name":"url","value":{"title":"Transformative agreements","url":"https://www.cambridge.org/core/services/open-access-policies/read-and-publish-agreements","ariaLabel":"Transformative agreements"}},{"name":"url","value":{"title":"KBART","url":"https://www.cambridge.org/core/services/librarians/kbart","ariaLabel":"KBART"}},{"name":"url","value":{"title":"MARC records","url":"https://www.cambridge.org/core/services/librarians/marc-records","ariaLabel":"MARC records"}},{"name":"staticPage","value":{"pageTitle":"Using MARCEdit for MARC records","pageBlurb":"Using MARCEdit for MARC records. To open/use MARC records from Cambridge Core, we recommend you use MARCEdit.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"using-marcedit-for-marc-records","introTitle":"Using MARCEdit for MARC records","introText":"Using MARCEdit for MARC records. To open/use MARC records from Cambridge Core, we recommend you use MARCEdit.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Inbound OpenURL specifications","pageBlurb":"Specifications to link directly to an article, book, chapter or journal page on Cambridge Core using an OpenURL link.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"inbound-openurl-specifications","introTitle":"Inbound OpenURL specifications","introText":"Use the following specifications to link directly to an article, book, chapter or journal page on Cambridge Core using an OpenURL link.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"COUNTER report types","pageBlurb":"A librarian guide to COUNTER reporting and report types, as well as turnaway reports for books and journals.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"counter-report-types","introTitle":"COUNTER report types","introText":"A librarian guide to COUNTER reporting and report types, as well as turnaway reports for books and journals.","contentBlocks":[],"areas":["librarians"]}}],"column4Heading":"Resources","column4StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Catalogues and resources","pageBlurb":"Discover resources that have been created to help you get the most value out of content on Cambridge Core. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"catalogues-and-resources","introTitle":"Catalogues and resources","introText":"These resources have been created to help you get the most value out of content on Cambridge Core. By promoting your Cambridge publications, you can increase usage and help readers discover new titles.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Making the most of your EBA","pageBlurb":"Evidence Based Acquisition (EBA) is an ebook purchase model that allows you to make informed decisions about which titles to own based on usage data.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"making-the-most-of-your-eba","introTitle":"Making the most of your EBA","introText":"Evidence Based Acquisition (EBA) is an ebook purchase model that allows you to make informed decisions about which titles to own based on usage data. We want to make sure that your EBA with Cambridge is a success, so we’ve put together a selection of resources to help with both raising awareness and ensuring discoverability of content.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Posters","pageBlurb":"Below are all posters for ebooks and journals available for you to download in two sizes - A3 and A4.","linkImage":{"title":"Posters","description":"An image showing the walkway between bookshelves in a library. The word \"Posters\" is superimposed over. ","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/3gpLCEAqNNQ89VoZWA6Aot/6ee8948bc1bd70553b19070431fc0818/Posters.jpg","details":{"size":64672,"image":{"width":424,"height":305}},"fileName":"Posters.jpg","contentType":"image/jpeg"}},"altText":"An image showing the walkway between bookshelves in a library. The word \"Posters\" is superimposed over. ","slug":"posters","introTitle":"Posters","introText":"Below are all posters for ebooks and journals available for you to download in two sizes - A3 and A4.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Leaflets and brochures","pageBlurb":"View and download our latest leaflets, brochures and catalogues, for products and resources, on Cambridge Core.","linkImage":{"title":"leaflets-and-brochures","description":"A close up of fingertips holding a ballpoint pen. The pen hovers about a notepad. Superimposed are the words \"Leaflets & Brochures\".","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/2vuFy7rj3ER6B7sH4iCAQW/f6ba1d6a1e00c2dbbf6e36e83a082e22/leaflets-and-brochures.jpg","details":{"size":42247,"image":{"width":424,"height":305}},"fileName":"leaflets-and-brochures.jpg","contentType":"image/jpeg"}},"altText":"A close up of fingertips holding a ballpoint pen. The pen hovers about a notepad. Superimposed are the words \"Leaflets & Brochures\".","slug":"leaflets-and-brochures","introTitle":"Leaflets and brochures","introText":"View and download our latest leaflets, brochures and catalogues, for products and resources, on Cambridge Core.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Additional resources","pageBlurb":"Download the Cambridge Core desktop background and logo to use on your library screens and in publicity material.","linkImage":{"title":"Additional-resources","description":"A close up of hands typing on a computer keyboard. Superimposed over the image are the words \"Additional Resources\". ","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/7IT9biHnN2eHG5WfwB7zmU/5cf73c7ade25233f31c709e359b2f78c/Additional-resources.jpg","details":{"size":39706,"image":{"width":424,"height":305}},"fileName":"Additional-resources.jpg","contentType":"image/jpeg"}},"altText":"A close up of hands typing on a computer keyboard. Superimposed over the image are the words \"Additional Resources\". ","slug":"additional-resources","introTitle":"Additional resources","introText":"Download the Cambridge Core desktop background and logo to use on your library screens and in publicity material.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Find my sales contact","pageBlurb":"Please find your sales contacts below by the appropriate region. Alternatively you can send general enquiries.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"find-my-sales-contact","introTitle":"Find my sales contact","introText":"Please find your sales contacts below by the appropriate region. Alternatively you can send general enquiries.","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Webinars","pageBlurb":"The author publishing workflow and author outreach activities. How to approve articles using Rightslink Agreement Manager. How to analyse reporting from Cambridge University Press.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"webinars","introTitle":"Webinars","contentBlocks":[],"areas":["librarians"]}},{"name":"staticPage","value":{"pageTitle":"Read and publish resources","pageBlurb":"This page is dedicated to providing resources, messaging and training to help make your deal a success.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"read-and-publish-resources","introTitle":"Read and publish resources","contentBlocks":[],"areas":["librarians"]}}],"slug":"librarians"}},{"name":"navigationBarArea","value":{"title":"Peer review","hubPage":{"name":"staticPage","value":{"pageTitle":"Peer review","pageBlurb":"Peer review is the foundation of quality in research for both books and journals, ensuring that published research is rigorous, ethical and significant to the discipline in question.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"peer-review","introTitle":"Peer review","introText":"Peer review is the foundation of quality in research for both books and journals, ensuring that published research is rigorous, ethical and significant to the discipline in question. On these pages you'll find information about how to review both books and journal articles, as well as some frequently asked questions, notes on ethics in review, and news from Cambridge University Press relating to developments in review.","contentBlocks":[],"areas":[]}},"column1Heading":"Peer review","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"How to peer review journal articles","pageBlurb":"Cambridge University Press has created a guide to give a practical introduction to conducting effective peer reviews, especially for those who are new to the process. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"how-to-peer-review-journal-articles","introTitle":"How to peer review journal articles","contentBlocks":[],"areas":["peer-review"]}},{"name":"staticPage","value":{"pageTitle":"How to peer review book proposals","pageBlurb":"Cambridge University Press has created a guide to give a practical introduction to conducting effective peer reviews, especially for those who are new to the process.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"how-to-peer-review-book-proposals","introTitle":"How to peer review book proposals","contentBlocks":[],"areas":["peer-review"]}},{"name":"staticPage","value":{"pageTitle":"How to peer review Registered Reports","pageBlurb":"This page offers guidance for peer reviewers about Registered Reports, a publishing format where a research article is published in two stages, each stage undergoing a separate peer review process.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"how-to-peer-review-registered-reports","introTitle":"How to peer review Registered Reports","contentBlocks":[],"areas":["peer-review"]}},{"name":"staticPage","value":{"pageTitle":"Peer review FAQs","pageBlurb":"Please note that these frequently asked questions have been written with journal articles in mind, though some may be applicable to reviewing book proposals.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"peer-review-faqs","introTitle":"Peer review FAQs","introText":"Please note that these frequently asked questions have been written with journal articles in mind, though some may be applicable to reviewing book proposals.","contentBlocks":[],"areas":["peer-review"]}},{"name":"staticPage","value":{"pageTitle":"Ethics in peer review","pageBlurb":"Cambridge University Press is committed to publishing ethics in all areas. Discover more about the five main areas of ethical considerations in peer review.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"ethics-in-peer-review","introTitle":"Ethics in peer review","introText":"Cambridge University Press is committed to publishing ethics in all areas. Discover more about the five main areas of ethical considerations in peer review.","contentBlocks":[],"areas":["peer-review"]}},{"name":"staticPage","value":{"pageTitle":"Online peer review systems","pageBlurb":"Where you complete and/or submit your review will vary depending on the journal. At Cambridge University Press, we use two online peer review systems called Scholar One and Editorial Manager, where you'll be expected to submit your review.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"online-peer-review-systems","introTitle":"Online peer review systems","introText":"Where you complete and/or submit your review will vary depending on the journal. At Cambridge University Press, we use two online peer review systems called Scholar One and Editorial Manager, where you'll be expected to submit your review. These systems are user-friendly and should walk you through the process of submitting your review.","contentBlocks":[],"areas":["peer-review"]}},{"name":"staticPage","value":{"pageTitle":"A guide to Publons","pageBlurb":"Cambridge University Press has created a guide to Publons to explain what it is and the benefits of using it as a reviewer.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"a-guide-to-publons","introTitle":"A guide to Publons","introText":"Publons has recently been rebranded as the Web of Science Reviewer Recognition Service during its integration with the Web of Science. ","contentBlocks":[],"areas":["peer-review"]}}],"slug":"peer-review"}},{"name":"navigationBarArea","value":{"title":"Publishing ethics","hubPage":{"name":"staticPage","value":{"pageTitle":"Publishing ethics","pageBlurb":"As a leading publisher of scholarly journals and books, Cambridge University Press is committed to meeting high standards of ethical behaviour at all stages of the publication process.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"publishing-ethics","introTitle":"Publishing ethics","introText":"As a leading publisher of scholarly journals and books, Cambridge University Press is committed to meeting high standards of ethical behaviour at all stages of the publication process. Our research publishing ethics guidelines outline the publishing ethics responsibilities of Cambridge University Press, authors, peer reviewers and editors.","contentBlocks":[],"areas":[]}},"column1Heading":"Journals ","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Publishing ethics guidelines for journals","pageBlurb":"At Cambridge University Press, the integrity of our academic content and publishing process is paramount. These guidelines outline the best practice principles that we apply to our Academic content. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"publishing-ethics-guidelines-journals","introTitle":"Publishing ethics guidelines for journals","introText":"At Cambridge University Press, the integrity of our academic content and publishing process is paramount. These guidelines outline the best practice principles that we apply to our Academic content. We hope these guidelines will be useful to many different groups, including authors, peer reviewers, editors within and outside of Cambridge University Press, societies, publishing partners and funders.","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Core editorial policies for journals","pageBlurb":"This page contains information about our publishing principles, research integrity and academic freedom - as well as a number of other aspects of our editorial policies.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"core-editorial-policies-journals","introTitle":"Core editorial policies for journals","introText":"This page contains information about our publishing principles, research integrity and academic freedom - as well as a number of other aspects of our editorial policies.","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Authorship and contributorship for journals","pageBlurb":"We acknowledge that different disciplines and publication formats have different norms for who is listed as an author.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"authorship-and-contributorship-journals","introTitle":"Authorship and contributorship for journals","introText":"We acknowledge that different disciplines and publication formats have different norms for who is listed as an author. We expect all authors on any content submitted to Cambridge to be in agreement that the authors listed would all be considered authors according to disciplinary norms, and that no authors who would reasonably be considered an author have been excluded. ","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Affiliations for journals","pageBlurb":"Any affiliations should represent the institution(s) at which the research presented was conducted and/or supported and/or approved.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"affiliations-journals","introTitle":"Affiliations for journals","introText":"Any affiliations should represent the institution(s) at which the research presented was conducted and/or supported and/or approved. For non-research content, any affiliations should represent the institution(s) with which each author is currently affiliated.","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Research ethics for journals","pageBlurb":"Cambridge University Press expects all contributors to align with ethics of research when researching and writing.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"research-ethics-journals","introTitle":"Research ethics for journals","introText":"Cambridge University Press expects all contributors to align with ethics of research when researching and writing.","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Competing interests and funding for journals","pageBlurb":"Authors submitting a journal manuscript to Cambridge University Press, employees, the SAPC, editors and reviewers of Cambridge University Press publications, are required to declare any potential competing interests.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"competing-interests-and-funding-journals","introTitle":"Competing interests and funding for journals","introText":"Authors submitting a journal manuscript to Cambridge University Press, employees, the SAPC, editors and reviewers of Cambridge University Press publications, are required to declare any potential competing interests that could interfere with the objectivity or integrity of a publication. ","contentBlocks":[],"areas":["publishing-ethics"]}}],"column2Heading":"Journals (cont.)","column2StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Data and supporting evidence for journals","pageBlurb":"We advocate for transparency and openness around data, code, and other materials associated with research, and we are a signatory of the Transparency and Openness Promotion (TOP) Guidelines. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"data-and-supporting-evidence-for-journals","introTitle":"Data and supporting evidence for journals","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Misconduct for journals","pageBlurb":"The principles of research integrity - honesty, transparency, accountability, care and respect - are encompassed by our core editorial policies described above.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"misconduct-journals","introTitle":"Misconduct for journals","introText":"The principles of research integrity - honesty, transparency, accountability, care and respect - are encompassed by our core editorial policies described above.","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Corrections, retractions and removals for journals","pageBlurb":"Cambridge University Press policies and information regarding corrections, retractions and removals in published content.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"corrections-retractions-and-removals-journals","introTitle":"Corrections, retractions and removals for journals","introText":"Cambridge University Press policies and information regarding corrections, retractions and removals in published content.","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Versions and adaptations for journals","pageBlurb":"Our publications are distributed in many different global, cultural, environmental and economic contexts. We may therefore issue different versions of some of our products in order to cater to these contexts. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"versions-and-adaptations-journals","introTitle":"Versions and adaptations for journals","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Libel, defamation and freedom of expression","pageBlurb":"Freedom of expression is critical to us as academic publishers, but we do not support publishing false statements that harm the reputation of individuals, groups or organisations. Our legal team will address allegations of libel in our publications.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"libel-defamation-and-freedom-of-expression","introTitle":"Libel, defamation and freedom of expression","introText":"Freedom of expression is critical to us as academic publishers, but we do not support publishing false statements that harm the reputation of individuals, groups or organisations. Our legal team will address allegations of libel in any of our publications.","areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Business ethics journals","pageBlurb":"Business ethics: fair access, censorship, marketing communication, advertising, sponsorship, PR / media and metrics, usage and reporting. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"business-ethics-journals","introTitle":"Business ethics journals","introText":"Business ethics: fair access, censorship, marketing communication, advertising, sponsorship, PR / media and metrics, usage and reporting. ","contentBlocks":[],"areas":["publishing-ethics"]}}],"column3Heading":"Books","column3StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Publishing ethics guidelines for books","pageBlurb":"At Cambridge University Press, the integrity of our academic content and publishing process is paramount. These guidelines outline the best practice principles that we apply to our Academic content. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"publishing-ethics-guidelines-books","introTitle":"Publishing ethics guidelines for books","introText":"At Cambridge University Press, the integrity of our academic content and publishing process is paramount. These guidelines outline the best practice principles that we apply to our Academic content. We hope these guidelines will be useful to many different groups, including authors, peer reviewers, editors within and outside of Cambridge University Press, societies, publishing partners and funders. ","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Core editorial policies for books","pageBlurb":"This page contains information about our publishing principles, research integrity and academic freedom - as well as a number of other aspects of our editorial policies.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"core-editorial-policies-books","introTitle":"Core editorial policies for books","introText":"This page contains infromation about our publishing principles, research integrity and academic freedom - as well as a number of other aspects of our editorial policies.","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Authorship and contributorship for books","pageBlurb":"We acknowledge that different disciplines and publication formats have different norms for who is listed as an author.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"authorship-and-contributorship-books","introTitle":"Authorship and contributorship for books","introText":"We acknowledge that different disciplines and publication formats have different norms for who is listed as an author. We expect all authors on any content submitted to Cambridge to be in agreement that the authors listed would all be considered authors according to disciplinary norms, and that no authors who would reasonably be considered an author have been excluded.","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Affiliations for books","pageBlurb":"Any affiliations should represent the institution(s) at which the research presented was conducted and/or supported and/or approved.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"affiliations-books","introTitle":"Affiliations for books","introText":"Any affiliations should represent the institution(s) at which the research presented was conducted and/or supported and/or approved. For non-research content, any affiliations should represent the institution(s) with which each author is currently affiliated.","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Research ethics for books","pageBlurb":"Cambridge University Press expects all contributors to align with ethics of research when researching and writing.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"research-ethics-books","introTitle":"Research ethics for books","introText":"Cambridge University Press expects all contributors to align with ethics of research when researching and writing.","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Competing interests and funding for books","pageBlurb":"Authors submitting a book or Element manuscript to Cambridge University Press, employees, the SAPC, editors and reviewers of Cambridge University Press publications, must declare any potential competing interests.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"competing-interests-and-funding-books","introTitle":"Competing interests and funding for books","introText":"Authors submitting a book or Element manuscript to Cambridge University Press, employees, the SAPC, editors and reviewers of Cambridge University Press publications, are required to declare any potential competing interests that could interfere with the objectivity or integrity of a publication. ","contentBlocks":[],"areas":["publishing-ethics"]}}],"column4Heading":"Books (cont.)","column4StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Data and supporting evidence for books","pageBlurb":"We advocate for transparency and openness around data, code, and other materials associated with research, and we are a signatory of the Transparency and Openness Promotion (TOP) Guidelines. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"data-and-supporting-evidence-books","introTitle":"Data and supporting evidence for books","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Misconduct for books","pageBlurb":"The principles of research integrity - honesty, transparency, accountability, care and respect - are encompassed by our core editorial policies described above.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"misconduct-books","introTitle":"Misconduct for books","introText":"The principles of research integrity - honesty, transparency, accountability, care and respect - are encompassed by our core editorial policies described above.","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Corrections, retractions and removals for books","pageBlurb":"Cambridge University Press policies and information regarding corrections, retractions and removals in published content.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"corrections-retractions-and-removals-books","introTitle":"Corrections, retractions and removals for books","introText":"Cambridge University Press policies and information regarding corrections, retractions and removals in published content.","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Versions and adaptations for books","pageBlurb":"Our publications are distributed in many different global, cultural, environmental and economic contexts. We may therefore issue different versions of some of our products in order to cater to these contexts. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"versions-and-adaptations-books","introTitle":"Versions and adaptations for books","contentBlocks":[],"areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Libel, defamation and freedom of expression","pageBlurb":"Freedom of expression is critical to us as academic publishers, but we do not support publishing false statements that harm the reputation of individuals, groups or organisations. Our legal team will address allegations of libel in our publications.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"libel-defamation-and-freedom-of-expression","introTitle":"Libel, defamation and freedom of expression","introText":"Freedom of expression is critical to us as academic publishers, but we do not support publishing false statements that harm the reputation of individuals, groups or organisations. Our legal team will address allegations of libel in any of our publications.","areas":["publishing-ethics"]}},{"name":"staticPage","value":{"pageTitle":"Business ethics books","pageBlurb":"Business ethics: fair access, censorship, marketing communication, advertising, sponsorship, PR / media and metrics, usage and reporting. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"business-ethics-books","introTitle":"Business ethics books","introText":"Business ethics: fair access, censorship, marketing communication, advertising, sponsorship, PR / media and metrics, usage and reporting. ","contentBlocks":[],"areas":["publishing-ethics"]}}],"slug":"publishing-ethics"}},{"name":"navigationBarArea","value":{"title":"Publishing partners","hubPage":{"name":"staticPage","value":{"pageTitle":"Publishing partnerships","pageBlurb":"Over 220 world-leading societies and presses partner with us on publications including journals, book series, early research and e-books. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"publishing-partnerships","introTitle":"Publishing partnerships","contentBlocks":[],"areas":["publishing-partners"]}},"column1Heading":"Publishing partners","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Publishing partnerships","pageBlurb":"Over 220 world-leading societies and presses partner with us on publications including journals, book series, early research and e-books. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"publishing-partnerships","introTitle":"Publishing partnerships","contentBlocks":[],"areas":["publishing-partners"]}},{"name":"staticPage","value":{"pageTitle":"Partner books","pageBlurb":"Books published for our society partners are given the same high quality production as our own publications, and are published throughout the world in print and electronic formats as appropriate.","linkImage":{"title":"PartnersBooks","description":"","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/2U1gsLlZ2xJxn8N97MOIAt/2604acf1f3e6274808a94cc3e0562509/PartnersBooks.jpg","details":{"size":32409,"image":{"width":500,"height":300}},"fileName":"PartnersBooks.jpg","contentType":"image/jpeg"}},"altText":"A background of dark blue with the word 'Books' in white text. The background has a pattern of dots forming circles.","slug":"partner-books","introTitle":"Partner books","contentBlocks":[],"areas":["publishing-partners"]}},{"name":"staticPage","value":{"pageTitle":"eBook publishing partnerships","pageBlurb":"Publishing partner ebook titles are delivered to customers on Cambridge Core. The publisher logo also appears on each individual book page, to ensure it is always clear that the ebook is published by a publishing partners.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"ebook-publishing-partnerships","introTitle":"eBook publishing partnerships","contentBlocks":[],"areas":["publishing-partners"]}},{"name":"staticPage","value":{"pageTitle":"Journal publishing partnerships","pageBlurb":"Cambridge University Press has a proud history of forming productive and enduring publishing relationships with learned societies, universities, and professional associations.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"journal-publishing-partnerships","introTitle":"Journal publishing partnerships","introText":"Cambridge University Press has a proud history of forming productive and enduring publishing relationships with learned societies, universities, and professional associations. Our mission is to unlock people's potential with the best learning and research solutions.","contentBlocks":[],"areas":["publishing-partners"]}}],"column2Heading":"Publishing partners (cont.)","column2StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Journals publishing","pageBlurb":"We pride ourselves on offering a truly collaborative publishing service which has journal development at its core.","linkImage":{"title":"journals publishing","description":"","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/3pWJoXbWYEFDv5DOiBQs7I/8c4dedff525b7170cfe631f4f66b88e7/journals_publishing.JPG","details":{"size":7595,"image":{"width":177,"height":155}},"fileName":"journals publishing.JPG","contentType":"image/jpeg"}},"altText":"An image of the outline of a book or journal with grey arrows around it. This is on a white circle, which is against a blue background.","slug":"journals-publishing","introTitle":"Journals publishing ","introText":"We pride ourselves on offering a truly collaborative publishing service which has journal development at its core. The range of services we provide includes:","contentBlocks":[],"areas":["publishing-partners"]}},{"name":"staticPage","value":{"pageTitle":"Customer support","pageBlurb":"Our Customer Services teams have units dedicated to library support, handling print fulfilment and claims, as well as online training and access","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, with stars and galaxies. The dark outline of the Cambridge shield is superimposed over the top. ","slug":"customer-support","introTitle":"Customer support","introText":"Our Customer Services teams have units dedicated to library support, handling print fulfilment and claims, as well as online training and access.","contentBlocks":[],"areas":["publishing-partners"]}},{"name":"staticPage","value":{"pageTitle":"Membership Services","pageBlurb":"We provide a range of services to our society partners, including access to journal content, discounts on Cambridge University Press publications and customer service support.","linkImage":{"title":"membership services","description":"","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/74cDq9dHVmVPJDQwvqN9ed/00f3dfbab0c2b1f79dea2c40dabb47e6/membership_services.JPG","details":{"size":8177,"image":{"width":169,"height":156}},"fileName":"membership services.JPG","contentType":"image/jpeg"}},"altText":"Line image of a person in blue on a white circle background, against a blue square. Around the person is a curved circular arrow. ","slug":"membership-services","introTitle":"Membership Services","introText":"We provide a range of services to the members of our society partners, including access to journal content (current and archival), discounts on Cambridge University Press publications and customer service support to ensure that any queries or problems are resolved quickly.","contentBlocks":[],"areas":["publishing-partners"]}},{"name":"staticPage","value":{"pageTitle":"Our Team","pageBlurb":"If you would like to discuss a potential journal publishing collaboration, please contact us to discuss your requirements or ideas.","linkImage":{"title":"Our team","description":"","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/3DbyRtmwHXuXmdpmkQTTd4/fb83164a4b8328415057478c6a81fde7/Our_team.JPG","details":{"size":8368,"image":{"width":184,"height":157}},"fileName":"Our team.JPG","contentType":"image/jpeg"}},"altText":"Line drawing of three people. One is shaded grey and the other two are without fill on a white circle. The circle is against a blue background.","slug":"our-team","introTitle":"Our Team","introText":"If you would like to discuss a potential journal publishing collaboration, please contact us to discuss your requirements or ideas.","contentBlocks":[],"areas":["publishing-partners"]}}],"slug":"publishing-partners"}}]}},{"name":"navigationBarCategory","value":{"title":"Open research","navigationBarArea":[{"name":"navigationBarArea","value":{"title":"Open access policies","hubPage":{"name":"staticPage","value":{"pageTitle":"Open access policies","pageBlurb":"Open access (OA) has become an important way to make research findings freely available for anyone to access and view. Open access serves authors and the wider community by publishing high-quality, peer-reviewed OA content.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"open-access-policies","introTitle":"Open access policies","introText":"Open access (OA) has become an important way to make research findings freely available for anyone to access and view. Open access serves authors and the wider community by publishing high-quality, peer-reviewed OA content. We support and promote all forms of OA that are financially sustainable. Our introduction to open access page provides some essential information about the types of OA we offer.","contentBlocks":[],"areas":["open-research-policies"]}},"column1Heading":"Open access policies","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Open research","pageBlurb":"The open research movement seeks to maximise the impact and benefits of research by prioritising barrier-free access to research findings, data and methodologies.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"open-research","introTitle":"Open research","introText":"The open research movement seeks to maximise the impact and benefits of research by prioritising barrier-free access to research findings, data and methodologies. Open research reflects a fundamental belief that the pursuit of knowledge benefits directly from collaboration, transparency, rapid dissemination and accessibility.","contentBlocks":[],"areas":["open-access-publishing","open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Open access policies","pageBlurb":"Open access (OA) has become an important way to make research findings freely available for anyone to access and view. Open access serves authors and the wider community by publishing high-quality, peer-reviewed OA content.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"open-access-policies","introTitle":"Open access policies","introText":"Open access (OA) has become an important way to make research findings freely available for anyone to access and view. Open access serves authors and the wider community by publishing high-quality, peer-reviewed OA content. We support and promote all forms of OA that are financially sustainable. Our introduction to open access page provides some essential information about the types of OA we offer.","contentBlocks":[],"areas":["open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Cambridge University Press and Plan S","pageBlurb":"Our goal to transform the journals we publish to open research depends on a continued, widespread move to funding for Open Access (OA) around the world.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"cambridge-university-press-and-plan-s","introTitle":"Cambridge University Press and Plan S","contentBlocks":[],"areas":["open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Text and data mining","pageBlurb":"We believe that text and data mining (TDM) is an important and powerful research tool with incredible potential. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"text-and-data-mining","introTitle":"Text and data mining","introText":"We believe that text and data mining (TDM) is an important and powerful research tool with incredible potential. ","contentBlocks":[],"areas":["open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Preprint policy","pageBlurb":"Discover full details of our Preprint policy at Cambridge University Press ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"preprint-policy","introTitle":"Preprint policy at Cambridge University Press","contentBlocks":[],"areas":["open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Social sharing","pageBlurb":"Content sharing is a natural and vital part of research. It helps to disseminate and raise awareness about new findings and to stimulate discussion and further progress.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"social-sharing","introTitle":"Social Sharing","introText":"Many authors and readers share journal and book content with others. Some of the most common ways that content is shared are:","contentBlocks":[],"areas":["open-research-policies"]}}],"column2Heading":"Journals","column2StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Open access journals","pageBlurb":"We have a growing list of journals that publish Gold Open Access articles under Creative Commons licences.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"open-access-journals","introTitle":"Open access journals","contentBlocks":[],"areas":["open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Gold open access journals","pageBlurb":"Many of our journals publish articles as Gold Open Access, under Creative commons (CC) licences, enabling readers to freely access and re-distribute their articles.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"gold-open-access-journals","introTitle":"Gold Open Access in journals","introText":"Many of our journals publish articles as Gold Open Access, under Creative commons (CC) licences, enabling readers to freely access and re-distribute their articles. In some journals Gold OA is an option offered to authors, while in other journals, some or all article types are always published Gold OA.","contentBlocks":[],"areas":["open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Transformative journals","pageBlurb":"The journals below have committed to transition to open research and meet the transformative journals requirements of Plan S. Download our 2021 and 2022 TJ progress reports to see each journal's progression to full OA.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"transformative-journals","introTitle":"Transformative journals","introText":"The journals below have committed to transition to open research and meet the transformative journals requirements of Plan S. Download our 2021 and 2022 TJ progress reports to see each journal's progression to full OA.","contentBlocks":[],"areas":["open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Green Open Access policy for journals","pageBlurb":"Discover details of how our Green Open Access policy permits authors of journal articles published by Cambridge to share versions of their work online.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"green-open-access-policy-for-journals","introTitle":"Green Open Access policy for journals","contentBlocks":[],"areas":["open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Transparent pricing policy for journals","pageBlurb":"We aim to price our journals fairly and transparently. In particular, our subscription prices should reflect the amount of subscription content in a journal.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"transparent-pricing-policy-for-journals","introTitle":"Transparent pricing policy for journals","introText":"We aim to price our journals fairly and transparently. In particular, our subscription prices should reflect the amount of subscription content in a journal.","contentBlocks":[],"areas":["open-research-policies"]}}],"column3Heading":"Books and Elements","column3StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Open access books","pageBlurb":"Open access (OA) is emerging as a new model for book publishing. We support OA books in line with our mission to disseminate knowledge at the highest international levels of excellence.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"open-access-books","introTitle":"Open access books","introText":"Open access (OA) is emerging as a new model for book publishing. We support OA books in line with our commitment to exploring publishing models that are financially sustainable, scalable and in accordance with our mission to disseminate knowledge at the highest international levels of excellence.","contentBlocks":[],"areas":["open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Gold open access books","pageBlurb":"We offer authors the option of publishing their work as open access. Discover more information about our gold open access books on our dedicated information page. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"gold-open-access-books","introTitle":"Gold open access books","introText":"We offer authors the option of publishing their work as open access to allow them to make their works freely available online without compromising any aspect of the publishing process. Typically, we offer this option only for monographs, which are books usually written by a single author to convey the results of their research and analysis in a particular field of study.","contentBlocks":[],"areas":["open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Green Open Access policy for books","pageBlurb":"Discover details of how our Green Open Access policy permits authors of books published by Cambridge to share versions of their work online.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"green-open-access-policy-for-books","introTitle":"Green Open Access policy for books","contentBlocks":[],"areas":["open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Open access Elements","pageBlurb":"Discover information about how to publish an Element Gold Open Access, as well as details of our Green Open Access policy for Elements.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"open-access-elements","introTitle":"Open access Elements","introText":"We offer authors the option of publishing their Elements as open access to allow them to make their works freely available online without compromising any aspect of the publishing process.","contentBlocks":[],"areas":["open-research-policies"]}}],"slug":"open-research-policies"}},{"name":"navigationBarArea","value":{"title":"Open access publishing","hubPage":{"name":"staticPage","value":{"pageTitle":"What is open access?","pageBlurb":"Open access (OA) is an important way to make research findings freely available for anyone to access and view.","linkImage":{"title":"What is open access","description":"Dark yellow vertical stripes fill a shield shape, representative of the Cambridge University Press logo, on a light yellow background.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/7sEQ4K9gF64X6oCYQm5gHg/74f9d5bc0f37e8f4ffe68bd177a5118c/What_is_open_access.png","details":{"size":4791,"image":{"width":450,"height":270}},"fileName":"What is open access.png","contentType":"image/png"}},"altText":"Dark yellow vertical stripes fill a shield shape, representative of the Cambridge University Press logo, on a light yellow background.","slug":"open-access","introTitle":"What is open access?","introText":"Open access (OA) makes research findings freely available for anyone to access and view. Authors will benefit from the open availability of their research to others, leading to an increase in the visibility and usage of their work. Open access allows authors to comply with the Gold and Green OA requirements of major funders.","contentBlocks":[],"areas":["open-access-publishing"]}},"banner":{"title":"1","description":"a mountain range in mist. a red shield is superimposed on the right.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/tg5ltxgzVAAUpHiLcO8IM/8799f338869f552c0974163f621af29a/1.png","details":{"size":2466105,"image":{"width":2560,"height":1440}},"fileName":"1.png","contentType":"image/png"}},"column1Heading":"About open access","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Open research","pageBlurb":"The open research movement seeks to maximise the impact and benefits of research by prioritising barrier-free access to research findings, data and methodologies.","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"open-research","introTitle":"Open research","introText":"The open research movement seeks to maximise the impact and benefits of research by prioritising barrier-free access to research findings, data and methodologies. Open research reflects a fundamental belief that the pursuit of knowledge benefits directly from collaboration, transparency, rapid dissemination and accessibility.","contentBlocks":[],"areas":["open-access-publishing","open-research-policies"]}},{"name":"staticPage","value":{"pageTitle":"Open Access Week","pageBlurb":"Open Access Week 2024 | Explore how we're working to build an open equitable future for all authors. We believe in the quality of your research rather than your ability to pay; so explore our routes to fund your open access publication.","linkImage":{"title":"Open Access Week","description":"Cambridge Blue vertical stripes fill a shield shape, representative of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/116LrrCNfUgNVzHbAtJ8Xj/b8f072a1ffc9713d156e6c96c91ef5d4/OA_Week.png","details":{"size":4883,"image":{"width":450,"height":270}},"fileName":"OA Week.png","contentType":"image/png"}},"altText":"Cambridge Blue vertical stripes fill a shield shape, representative of the Cambridge University Press logo.","slug":"open-access-week","introTitle":"Open Access Week","introText":"Welcome to Open Access Week 2024! We're working to build an open, equitable future for all authors around the world. Find out more about how we're supporting authors from low- and middle-income countries with our award-winning Cambridge Open Equity Initiative, our open access book-funding programme, Flip it Open, and more. ","contentBlocks":[],"areas":["open-access-publishing"]}},{"name":"staticPage","value":{"pageTitle":"What is open access?","pageBlurb":"Open access (OA) is an important way to make research findings freely available for anyone to access and view.","linkImage":{"title":"What is open access","description":"Dark yellow vertical stripes fill a shield shape, representative of the Cambridge University Press logo, on a light yellow background.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/7sEQ4K9gF64X6oCYQm5gHg/74f9d5bc0f37e8f4ffe68bd177a5118c/What_is_open_access.png","details":{"size":4791,"image":{"width":450,"height":270}},"fileName":"What is open access.png","contentType":"image/png"}},"altText":"Dark yellow vertical stripes fill a shield shape, representative of the Cambridge University Press logo, on a light yellow background.","slug":"open-access","introTitle":"What is open access?","introText":"Open access (OA) makes research findings freely available for anyone to access and view. Authors will benefit from the open availability of their research to others, leading to an increase in the visibility and usage of their work. Open access allows authors to comply with the Gold and Green OA requirements of major funders.","contentBlocks":[],"areas":["open-access-publishing"]}},{"name":"staticPage","value":{"pageTitle":"Open access glossary","pageBlurb":"Open access has many unique terms, acronyms and additional information. Read our useful glossary to discover more.","linkImage":{"title":"Open access glossary","description":"Bright pink dot pattern fill a shield shape, representative of the Cambridge University Press logo, on a dark pink background.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/7cLxXpMkrUCEEHVu2Brt1b/69ca9bc044cd4698fce66e6ca8224fd7/OA_glossary.png","details":{"size":58518,"image":{"width":450,"height":270}},"fileName":"OA glossary.png","contentType":"image/png"}},"altText":"Bright pink dot pattern fill a shield shape, representative of the Cambridge University Press logo, on a dark pink background.","slug":"open-access-glossary","introTitle":"Open access glossary","introText":"Open access has many unique terms, acronyms and additional information. Read our useful glossary to discover more.","contentBlocks":[],"areas":["open-access-publishing"]}},{"name":"staticPage","value":{"pageTitle":"Open access myths","pageBlurb":"Open access (OA) is an important way to make high-quality, peer reviewed content freely available for anyone to access and view. ","linkImage":{"title":"Open access myths","description":"Bright orange dot pattern fills a shield shape, representative of the Cambridge University Press logo, on a dark orange background","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/6NIEmqNMzKKHvOHi9cLDUR/157e57a4457dce626d4c3469f15caff6/OA_Myths.png","details":{"size":50542,"image":{"width":450,"height":270}},"fileName":"OA Myths.png","contentType":"image/png"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"open-access-myths","introTitle":"Open access myths","introText":"Open access is an important way to make high-quality, peer reviewed content freely available for anyone to access and view. ","contentBlocks":[],"areas":["open-access-publishing"]}},{"name":"staticPage","value":{"pageTitle":"Hybrid Open Access FAQs","pageBlurb":"Discover move about what hybrid open access is and what's possible in our frequently asked questions","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"hybrid-open-access-faqs","introTitle":"Hybrid open access - Frequently asked questions","contentBlocks":[],"areas":["open-access-publishing"]}},{"name":"url","value":{"title":"Eligibility checker","url":"/core/eligibility-checker","ariaLabel":"Eligibility checker"}}],"column2Heading":"Open access resources","column2StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Open access resources","pageBlurb":"Find Open Access resources for authors, including; information on creative commons licences, funder mandates and policies and much more. ","linkImage":{"title":"Open Access - Resource for authors","description":"Open Access - Resource for authors image","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/nZUZJsiSdEQ92gahE9HVA/5ed0042cab7f26c29ce64460ccbbb273/Open-Access-button-v2.png","details":{"size":10991,"image":{"width":500,"height":300}},"fileName":"Open-Access-button-v2.png","contentType":"image/png"}},"altText":"A bright orange background, with light orange stripes has superimposed text in a white font that reads Open Access, resources for authors ","slug":"open-access-resources","introTitle":"Open access resources","introText":"Open access (OA) has become an important way to make research findings freely available for anyone to access and view. Open access serves authors and the wider community by publishing high-quality, peer-reviewed OA content. We support and promote all forms of OA that are financially sustainable. Our open access resources page provides some essential information about the types of OA we offer.","contentBlocks":[],"areas":["open-access-publishing"]}},{"name":"staticPage","value":{"pageTitle":"Benefits of open access","pageBlurb":"Discover the benefits of open access on our dedicated page which covers; Discoverability and dissemination, Educational and other re-use and Public access and engagement.","linkImage":{"title":"Benefits of open access","description":"Pale yellow spot pattern fills a shield shape, representative of the Cambridge University Press logo, on a dark yellow background.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/RzyZtGBB0v0qAeZdQG2lA/b986a003757ddb9089555b2388542208/benefits_of_open_access.png","details":{"size":53285,"image":{"width":450,"height":270}},"fileName":"benefits of open access.png","contentType":"image/png"}},"altText":"Pale yellow spot pattern fills a shield shape, representative of the Cambridge University Press logo, on a dark yellow background.","slug":"benefits-of-open-access","introTitle":"Benefits of open access","introText":"Publishing open access helps to advance discovery by allowing anyone, anywhere in the world with internet access to find, access, and benefit from your research. Open access plays an important part in allowing us to fulfil our mission of furthering the advancement of learning, knowledge and research worldwide.","contentBlocks":[],"areas":["open-access-publishing"]}},{"name":"staticPage","value":{"pageTitle":"Creative commons licenses","pageBlurb":"Creative Commons (CC) licences play an important role in facilitating Gold Open Access publishing. They provide a legal framework for giving users the ability to freely view, download and distribute content.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"creative-commons-licenses","introTitle":"Creative Commons (CC) licences","introText":"Creative Commons (CC) licences play an important role in facilitating Gold Open Access publishing. They provide a legal framework for giving users the ability to freely view, download and distribute content.","contentBlocks":[],"areas":["open-access-publishing"]}},{"name":"staticPage","value":{"pageTitle":"Funder policies and mandates","pageBlurb":"Many funders around the world are introducing policies and mandates concerning public access to the research they fund. The policies vary and researchers should check the terms and conditions of their research grants.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"funder-policies-and-mandates","introTitle":"Funder policies and mandates","introText":"Many funders around the world are introducing policies and mandates concerning public access to the research they fund. The policies vary and researchers should check the terms and conditions of their research grants in order to be aware of the particular conditions they must abide by. ","contentBlocks":[],"areas":["open-access-publishing"]}},{"name":"staticPage","value":{"pageTitle":"Article type definitions","pageBlurb":"Discover which article types are covered in transformative agreements via our dedicated article type definitions page","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"article-type-definitions","introTitle":"Article type definitions","contentBlocks":[],"areas":["open-access-publishing"]}},{"name":"staticPage","value":{"pageTitle":"Convert your article to Open Access","pageBlurb":"If you would like to publish your article to Open Access, we ask that you select a creative commons licence. The CC licence you choose will determine how readers can use your content. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"convert-your-article-to-open-access","introTitle":"Publishing OA under a Read and Publish agreement","contentBlocks":[],"areas":["open-access-publishing"]}},{"name":"staticPage","value":{"pageTitle":"Open access video resources","pageBlurb":"Comprise of Open Access (OA) Advantage: Webinar, benefits, myths, flipping journal to OA, publishing OA with Cambridge","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"Comprise of Open Access (OA) Advantage: Webinar, benefits, myths, flipping journal to OA, publishing OA with Cambridge","slug":"open-access-video-resources","introTitle":"Open Access Video Resources","contentBlocks":[],"areas":["open-access-publishing"]}}],"slug":"open-access-publishing"}},{"name":"navigationBarArea","value":{"title":"Open research initiatives","column1Heading":"Research transparency","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Transparency and openness","pageBlurb":"Transparency and openness are core values of academic research and are essential if new observations and discoveries are to fully contribute to advances in global knowledge. ","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","slug":"transparency-and-openness","introTitle":"Transparency and openness","introText":"Transparency and openness are core values of academic research and are essential if new observations and discoveries are to fully contribute to advances in global knowledge. Research articles serve their readers best when they provide sufficient information for new assertions and findings to be properly evaluated and built upon.","contentBlocks":[],"areas":["open-research-initiatives"]}},{"name":"staticPage","value":{"pageTitle":"Open Practice Badges","pageBlurb":"Open Practice Badges are incentives for researchers to share data, materials, or to preregister their work. They are designed to be displayed on published articles to show that authors have engaged in these open practices.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"open-practice-badges","introTitle":"Open Practice Badges","contentBlocks":[],"areas":["open-research-initiatives"]}},{"name":"staticPage","value":{"pageTitle":"OA organisations, initiatives & directories","pageBlurb":"Discover more information on the Open Access organisations, initiatives and directories we are a member of.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"oa-organisations-initiatives-and-directories","introTitle":"OA organisations, initiatives and directories","introText":"Cambridge University Press is a member of a number of organisations, initiatives and directories which we have provided information on below;","contentBlocks":[],"areas":["open-research-initiatives"]}},{"name":"staticPage","value":{"pageTitle":"Registered Reports","pageBlurb":"Registered Reports are a publishing format developed by the Center for Open Science to incentivise and reward good research practices and study design. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"registered-reports","introTitle":"Registered Reports","contentBlocks":[],"areas":["open-research-initiatives"]}},{"name":"staticPage","value":{"pageTitle":"Annotation for Transparent Inquiry (ATI)","pageBlurb":"Annotation for Transparent Inquiry (ATI) is a new tool designed to facilitate transparency in qualitative and mixed-methods research. ","linkImage":{"title":"frontlist","description":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1yzIb3CIxMfQ2CTz8eswKt/8b72cfb68d75445b52d567fbe3573eb7/frontlist.JPG","details":{"size":20050,"image":{"width":334,"height":341}},"fileName":"frontlist.JPG","contentType":"image/jpeg"}},"altText":"A prism reflects a spectrum of light over a white shield on a purple background. The shield represents the shape of the Cambridge University Press logo.","slug":"annotation-for-transparent-inquiry-ati","introTitle":"Annotation for Transparent Inquiry (ATI)","introText":"Annotation for Transparent Inquiry (ATI) is a new tool designed to facilitate transparency in qualitative and mixed-methods research. ","contentBlocks":[],"areas":["open-research-initiatives"]}}],"column2Heading":"Journal flips","column2StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Open access journal flips","pageBlurb":"We are transforming the vast majority of research publishing in our journals to open access by 2025. 41 journals have flipped to open access for 2024 as part of this transformation, and we are pleased to announce a further 79 flips for 2025.","linkImage":{"title":"openaccess","description":"Open access logo - a stylised open orange padlock. The logo is displayed on a grey stripped background.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/12DeiUx4ALihi8EgNJ6WB1/e1e67c2e7082bd23f1a676d4186b04b6/openaccess.JPG","details":{"size":15431,"image":{"width":432,"height":286}},"fileName":"openaccess.JPG","contentType":"image/jpeg"}},"altText":"Open access logo - a stylised open orange padlock. The logo is displayed on a grey stripped background.","slug":"open-access-journal-flips","introTitle":"Open access journal flips","introText":"We are transforming the vast majority of research publishing in our journals to open access by 2025. 41 journals have flipped to open access for 2024 as part of this transformation, and we are pleased to announce a further 79 flips for 2025.","contentBlocks":[],"areas":["open-research-initiatives"]}},{"name":"staticPage","value":{"pageTitle":"OA Journal Flip FAQs","pageBlurb":"Find answers to questions about open access journal flips for authors, readers, librarians, society members, editorial board members and publishing partners.","linkImage":{"title":"CoreHomepage_PH_edit","description":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/4PiPfW4LdMHTslTjTN19Di/d4ee372bf3c7e8ec90c169960571ceff/CoreHomepage_PH_edit.JPG","details":{"size":73633,"image":{"width":971,"height":551}},"fileName":"CoreHomepage_PH_edit.JPG","contentType":"image/jpeg"}},"altText":"An image of the night sky, showing stars and galaxies. The dark outline of a shield has been superimposed over the top. ","slug":"oa-journal-flip-faqs","introTitle":"OA Journal Flip FAQs","introText":"Find answers to questions about open access journal flips for authors, readers, librarians, society members, editorial board members and publishing partners.","contentBlocks":[],"areas":["open-research-initiatives"]}}],"column3Heading":"Flip it Open","column3StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Flip it Open","pageBlurb":"Flip it Open is our new programme which aims to fund the open access publication of titles through typical purchasing habits. Once titles meet a set amount of revenue, we have committed to make them freely available as open access books.","linkImage":{"title":"flip it open","description":"Image of a door, slightly ajar, with large pink and green balls bouncing through, against a grey background wall.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1Iumh0y51Li1h1czm7xT3s/ffb2baaf34ed6fd6ec5ecea8721a2e17/flip_it_open.JPG","details":{"size":9674,"image":{"width":354,"height":199}},"fileName":"flip it open.JPG","contentType":"image/jpeg"}},"altText":"Image of a door, slightly ajar, with large pink and green balls bouncing through, against a grey background wall.","slug":"flip-it-open","introTitle":"Flip it Open","introText":"Flip it Open is our new programme which aims to fund the open access publication of 100 titles through typical purchasing habits. Once titles meet a set amount of revenue, we have committed to make them freely available as open access books here on Cambridge Core and also as an affordable paperback. Just another way we're building an open future.","contentBlocks":[],"areas":["open-research-initiatives"]}},{"name":"staticPage","value":{"pageTitle":"Flip it Open FAQs","pageBlurb":"Flip it Open is our new programme which aims to fund the open access publication of titles through typical purchasing habits. Once titles meet a set amount of revenue, we have committed to make them freely available as open access books.","linkImage":{"title":"flip it open","description":"Image of a door, slightly ajar, with large pink and green balls bouncing through, against a grey background wall.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1Iumh0y51Li1h1czm7xT3s/ffb2baaf34ed6fd6ec5ecea8721a2e17/flip_it_open.JPG","details":{"size":9674,"image":{"width":354,"height":199}},"fileName":"flip it open.JPG","contentType":"image/jpeg"}},"altText":"Image of a door, slightly ajar, with large pink and green balls bouncing through, against a grey background wall.","slug":"flip-it-open-faqs","introTitle":"Flip it Open FAQs","introText":"Flip it Open is our new programme which aims to fund the open access publication of 100 titles through typical purchasing habits. Once titles meet a set amount of revenue, we have committed to make them freely available as open access books here on Cambridge Core and also as an affordable paperback. Just another way we're building an open future.","contentBlocks":[],"areas":["open-research-initiatives"]}}],"slug":"open-research-initiatives"}},{"name":"navigationBarArea","value":{"title":"Open access funding","hubPage":{"name":"staticPage","value":{"pageTitle":"Funding open access publication","pageBlurb":"We believe that journals must publish articles based on the quality of the work rather than an author's ability to pay.","linkImage":{"title":"Funding open access publication","description":"Dark orange dot pattern fills a shield shape, representative of the Cambridge University Press logo, on a bright orange background.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/7te0Mjpty44biAUabJ5RPF/d6e37cd51d396f6ec99817b89b00b235/Funding_OA.png","details":{"size":53374,"image":{"width":450,"height":270}},"fileName":"Funding OA.png","contentType":"image/png"}},"altText":"Dark orange dot pattern fills a shield shape, representative of the Cambridge University Press logo, on a bright orange background.","slug":"funding-open-access-publication","introTitle":"Funding open access publication","introText":"We believe that journals must publish articles based on the quality of the work rather than an author's ability to pay. The editorial process – including the decision of whether or not to accept an article for publication – should be independent of the author’s decision to publish Gold Open Access (OA), in cases where this is optional, as well as being independent of how the publication costs for a Gold OA article are funded.","contentBlocks":[],"areas":["open-access-funding"]}},"banner":{"title":"3","description":"An image of prairie land and dusky skies with a green shield superimposed to the left.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/7lbnCGEEZDq5LJSmPTzfqB/ff8d397038089070b71384ed0ce45028/3.jpg","details":{"size":313671,"image":{"width":2560,"height":1440}},"fileName":"3.jpg","contentType":"image/jpeg"}},"column1Heading":"Open access funding","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Funding open access publication","pageBlurb":"We believe that journals must publish articles based on the quality of the work rather than an author's ability to pay.","linkImage":{"title":"Funding open access publication","description":"Dark orange dot pattern fills a shield shape, representative of the Cambridge University Press logo, on a bright orange background.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/7te0Mjpty44biAUabJ5RPF/d6e37cd51d396f6ec99817b89b00b235/Funding_OA.png","details":{"size":53374,"image":{"width":450,"height":270}},"fileName":"Funding OA.png","contentType":"image/png"}},"altText":"Dark orange dot pattern fills a shield shape, representative of the Cambridge University Press logo, on a bright orange background.","slug":"funding-open-access-publication","introTitle":"Funding open access publication","introText":"We believe that journals must publish articles based on the quality of the work rather than an author's ability to pay. The editorial process – including the decision of whether or not to accept an article for publication – should be independent of the author’s decision to publish Gold Open Access (OA), in cases where this is optional, as well as being independent of how the publication costs for a Gold OA article are funded.","contentBlocks":[],"areas":["open-access-funding"]}},{"name":"staticPage","value":{"pageTitle":"Cambridge Open Equity Initiative","pageBlurb":"The Cambridge Open Equity Initiative is a new pilot designed to support authors in low- and middle-income countries who wish to publish their research open access in our journals but do not have access to funding.","linkImage":{"title":"Cambridge Open Equity Initiative","description":"Blue vertical stripes fill a shield shape, representative of the Cambridge University Press logo.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/6JjuLI91OqL5yWfpDCBabw/57656fcab1c004e52e2ac5221bf45ae3/COEI.png","details":{"size":7741,"image":{"width":450,"height":270}},"fileName":"COEI.png","contentType":"image/png"}},"altText":"Blue vertical stripes fill a shield shape, representative of the Cambridge University Press logo.","slug":"cambridge-open-equity-initiative","introTitle":"Cambridge Open Equity Initiative","introText":"The Cambridge Open Equity Initiative is designed to support authors in low- and middle-income countries who wish to publish their research open access in our journals but do not have access to funding.","contentBlocks":[],"areas":["open-access-funding"]}}],"slug":"open-access-funding"}},{"name":"navigationBarArea","value":{"title":" Cambridge Open Engage","hubPage":{"name":"staticPage","value":{"pageTitle":"Cambridge Open Engage","pageBlurb":"Cambridge Open Engage is the early research platform from Cambridge University Press. The site offers researchers a new space to rapidly disseminate early and open research, including preprints, posters, presentations and conference papers.","linkImage":{"title":"COE Banner for Core","description":"COE Banner for Core","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/11sHvd1kZ8Vow8Yew8U8Cb/5f69b2462388856cfdb9984c750c6d3c/COE-banner-for-Core-1200x175.jpg","details":{"size":30597,"image":{"width":1600,"height":233}},"fileName":"COE-banner-for-Core-1200x175.jpg","contentType":"image/jpeg"}},"altText":"Cambridge Open Engage banner with its logo on the left side of the text and with a blue-green background color.","slug":"cambridge-open-engage","introTitle":"Cambridge Open Engage","contentBlocks":[],"areas":["cambridge-open-engage"]}},"column1Heading":" Cambridge Open Engage","column1StaticPagesOrUrls":[{"name":"staticPage","value":{"pageTitle":"Cambridge Open Engage","pageBlurb":"Cambridge Open Engage is the early research platform from Cambridge University Press. The site offers researchers a new space to rapidly disseminate early and open research, including preprints, posters, presentations and conference papers.","linkImage":{"title":"COE Banner for Core","description":"COE Banner for Core","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/11sHvd1kZ8Vow8Yew8U8Cb/5f69b2462388856cfdb9984c750c6d3c/COE-banner-for-Core-1200x175.jpg","details":{"size":30597,"image":{"width":1600,"height":233}},"fileName":"COE-banner-for-Core-1200x175.jpg","contentType":"image/jpeg"}},"altText":"Cambridge Open Engage banner with its logo on the left side of the text and with a blue-green background color.","slug":"cambridge-open-engage","introTitle":"Cambridge Open Engage","contentBlocks":[],"areas":["cambridge-open-engage"]}},{"name":"staticPage","value":{"pageTitle":"Partner With Us","pageBlurb":"We work with partners - such as learned societies, funders and departments or research centres within research institutions - in a range of ways.","linkImage":{"title":"Partner With Us","description":"","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/54Be88OUjKkNI6xbxmes8I/1196f9840ef75b6e7cf6aec599616505/partner-with-us.jpg","details":{"size":50015,"image":{"width":1250,"height":300}},"fileName":"partner-with-us.jpg","contentType":"image/jpeg"}},"altText":"Cambridge Open Engage Partner with Us banner with a yellow background for the Cambridge Core website.","slug":"engage-partner-with-us","introTitle":"Partner With Us","contentBlocks":[],"areas":["cambridge-open-engage"]}},{"name":"staticPage","value":{"pageTitle":"Branded Hubs","pageBlurb":"Work with us to build your own branded space within Cambridge Open Engage. We offer partners such as learned societies, departments, and many more.","linkImage":{"title":"Branded Hubs","description":"Cambridge Open Engage logo with Branded Hubs banner with yellow background on Cambridge Core website.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1HYQfWBUMmFh5cxXT4ASk3/dd42f22e9034baad9e25666308f03055/Branded_hubs.JPG","details":{"size":13529,"image":{"width":318,"height":192}},"fileName":"Branded hubs.JPG","contentType":"image/jpeg"}},"altText":"Cambridge Open Engage logo with Branded Hubs banner with yellow background on Cambridge Core website.","slug":"engage-branded-hubs","introTitle":"Branded Hubs","contentBlocks":[],"areas":["cambridge-open-engage"]}},{"name":"staticPage","value":{"pageTitle":"Event Workspaces","pageBlurb":"We offer branded event spaces where you can share outputs from events, offer commenting features allowing attendees to ask questions, and much more.","linkImage":{"title":"Event Workspaces","description":"Cambridge Open Engage with logo Event Workspaces banner with a yellow background on Cambridge Core website.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/1JNYmsm8HkoalS94741ud2/0299af5939154363dff989acb51ae3b3/Event_workspaces.JPG","details":{"size":13881,"image":{"width":320,"height":192}},"fileName":"Event workspaces.JPG","contentType":"image/jpeg"}},"altText":"Cambridge Open Engage with logo Event Workspaces banner with a yellow background on Cambridge Core website.","slug":"engage-event-workspaces","introTitle":"Event Workspaces","contentBlocks":[],"areas":["cambridge-open-engage"]}},{"name":"staticPage","value":{"pageTitle":"Partner Resources","pageBlurb":"Spread the word to your researchers by sending them to Cambridge Open Engage, or contact us if you'd like to discuss tailored messaging for your community.","linkImage":{"title":"Partner Resources","description":"Cambridge Open Engage with logo Partner Resources banner with a yellow background on Cambridge Core website.","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/2NdKUR1NBikcoqYsjp1ePQ/0838ba4b5725badec595663d5ab08147/Partner_resources.JPG","details":{"size":13317,"image":{"width":316,"height":190}},"fileName":"Partner resources.JPG","contentType":"image/jpeg"}},"altText":"Cambridge Open Engage with logo Partner Resources banner with a yellow background on Cambridge Core website.","slug":"engage-partner-resources","introTitle":"Partner Resources","introText":"A selection of resources to aid partners with informing their members, staff, authors and editors about the benefits and functionality of Cambridge Open Engage.","contentBlocks":[],"areas":["cambridge-open-engage"]}},{"name":"staticPage","value":{"pageTitle":"APSA Preprints","pageBlurb":"APSA Preprints is a free-to-access pre-publication platform dedicated to early research outputs in political science, and developed through the collaboration of the American Political Science Association and Cambridge University Press.","linkImage":{"title":"APSA Preprints Banner","description":"","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/37QmpvOaJxxp9ksVaulObU/6ea66e49ff4f3d920eb5c43db27c02ce/APSA-Preprints.jpg","details":{"size":40928,"image":{"width":2000,"height":440}},"fileName":"APSA-Preprints.jpg","contentType":"image/jpeg"}},"altText":"APSA Preprints American Political Science Association logo banner with blue and green text color at the right and a cut circle at the left.","slug":"engage-apsa-preprints","introTitle":"APSA Preprints","contentBlocks":[],"areas":["cambridge-open-engage"]}},{"name":"staticPage","value":{"pageTitle":"APSA Preprints FAQs","pageBlurb":"If you have any questions about APSA Preprints that are not addressed by the FAQs or User Guide, you can contact preprints@apsanet.org.","linkImage":{"title":"APSA Preprints Banner","description":"","file":{"url":"//images.ctfassets.net/ulsp6w1o06p0/37QmpvOaJxxp9ksVaulObU/6ea66e49ff4f3d920eb5c43db27c02ce/APSA-Preprints.jpg","details":{"size":40928,"image":{"width":2000,"height":440}},"fileName":"APSA-Preprints.jpg","contentType":"image/jpeg"}},"altText":"APSA Preprints American Political Science Association logo banner with blue and green text color at the right and a cut circle at the left.","slug":"engage-apsa-preprints-faqs","introTitle":"APSA Preprints FAQs","contentBlocks":[],"areas":["cambridge-open-engage"]}}],"slug":"cambridge-open-engage"}}]}}],"youtube":{"name":"url","value":{"title":"Youtube","url":"https://www.youtube.com/playlist?list=PLTK8KRW19hUVucVRHbIx73oLKUro8HXt0","ariaLabel":"Visit Cambridge University Press Youtube account. Opens in a new tab."}},"xTwitter":{"name":"url","value":{"title":"xTwitter","url":"https://twitter.com/CambridgeCore","ariaLabel":"Visit Cambridge University Press X account. Opens in a new tab."}},"facebook":{"name":"url","value":{"title":"Facebook","url":"https://www.facebook.com/CambridgeCore","ariaLabel":"Visit Cambridge University Press Facebook account. Opens in a new tab."}},"instagram":{"name":"url","value":{"title":"Instagram","url":"https://www.instagram.com/cambridgeuniversitypress/","ariaLabel":"Visit Cambridge University Press Instagram account. Opens in a new tab."}},"linkedin":{"name":"url","value":{"title":"Linkedin","url":"https://www.linkedin.com/showcase/11096649","ariaLabel":"Visit Cambridge University Press Linkedin account. Opens in a new tab."}},"accessibility":{"name":"url","value":{"title":"Accessibility","url":"/core/accessibility","ariaLabel":"Cambridge Core accessibility page"}},"contactAndHelp":{"name":"url","value":{"title":"Contact & Help","url":"/core/help/FAQs","ariaLabel":"Cambridge Core contact & help page"}},"legalNotices":{"name":"url","value":{"title":"Legal notices","url":"/core/legal-notices/terms","ariaLabel":"Cambridge Core legal notices page"}}}},"locations":[{"id":"4cceb186-9e0f-4a5c-9cae-5fb7faf7c98e","alpha2Code":"AF","alpha3Code":"AFG","shortName":"Afghanistan","status":"officially-assigned","kkCountryId":"1","cupBranch":"D","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"7a8af489-758b-4a78-832d-dd9e754b5512","alpha2Code":"AX","alpha3Code":"ALA","shortName":"Aland Islands","status":"officially-assigned","kkCountryId":"240","cupBranch":"NULL","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"6ec2aa7c-8144-4413-9a53-1e477c4c836a","alpha2Code":"AL","alpha3Code":"ALB","shortName":"Albania","status":"officially-assigned","kkCountryId":"2","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"522e3e12-6761-4d4d-bcaa-eb24f87aec05","alpha2Code":"DZ","alpha3Code":"DZA","shortName":"Algeria","status":"officially-assigned","kkCountryId":"3","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"a01524a2-a472-44b6-9ebe-a61fd156973d","alpha2Code":"AS","alpha3Code":"ASM","shortName":"American Samoa","status":"officially-assigned","kkCountryId":"4","cupBranch":"N","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"8317dd2d-d1f4-4009-ad3c-457ab2ba3a14","alpha2Code":"AD","alpha3Code":"AND","shortName":"Andorra","status":"officially-assigned","kkCountryId":"5","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":true},{"id":"1bf09008-eab9-4805-bdd4-2158a298f1f9","alpha2Code":"AO","alpha3Code":"AGO","shortName":"Angola","status":"officially-assigned","kkCountryId":"6","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"ea735233-adeb-4652-8f09-22420fc62809","alpha2Code":"AI","alpha3Code":"AIA","shortName":"Anguilla","status":"officially-assigned","kkCountryId":"7","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"20d19e9e-af37-4d13-a146-799796d8b6c0","alpha2Code":"AQ","alpha3Code":"ATA","shortName":"Antarctica","status":"officially-assigned","kkCountryId":"8","cupBranch":"NULL","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"075b9cdb-8bcd-4afa-bea8-38fcb3a91d03","alpha2Code":"AG","alpha3Code":"ATG","shortName":"Antigua and Barbuda","status":"officially-assigned","kkCountryId":"9","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"5e891ca3-69c1-429c-9673-4b0ca191b8f4","alpha2Code":"AR","alpha3Code":"ARG","shortName":"Argentina","status":"officially-assigned","kkCountryId":"10","cupBranch":"N","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"0ee9aa6f-ad1f-4760-95d4-4d233a39b6fe","alpha2Code":"AM","alpha3Code":"ARM","shortName":"Armenia","status":"officially-assigned","kkCountryId":"11","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"c01b6345-36af-4b5e-804b-81e4def241ff","alpha2Code":"AW","alpha3Code":"ABW","shortName":"Aruba","status":"officially-assigned","kkCountryId":"12","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"49d6f1dc-ca68-42f8-9f0f-3906decfe986","alpha2Code":"AU","alpha3Code":"AUS","shortName":"Australia","status":"officially-assigned","kkCountryId":"13","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"AUD","ecommLabel":"Total (incl. GST)","sensitiveTerritory":false},{"id":"f8c6231d-104b-45f9-b8bd-59d058c26617","alpha2Code":"AT","alpha3Code":"AUT","shortName":"Austria","status":"officially-assigned","kkCountryId":"14","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"e6898057-dce5-4267-9839-6f246dc56655","alpha2Code":"AZ","alpha3Code":"AZE","shortName":"Azerbaijan","status":"officially-assigned","kkCountryId":"15","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"5303e81f-50eb-474d-9de4-642d76633624","alpha2Code":"BS","alpha3Code":"BHS","shortName":"Bahamas","status":"officially-assigned","kkCountryId":"16","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"b39f1489-b2e0-4c8c-af10-6c1a1d1d51c8","alpha2Code":"BH","alpha3Code":"BHR","shortName":"Bahrain","status":"officially-assigned","kkCountryId":"17","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"813ffe7c-1bdc-43b7-a14c-ffe7d7c0da9d","alpha2Code":"BD","alpha3Code":"BGD","shortName":"Bangladesh","status":"officially-assigned","kkCountryId":"18","cupBranch":"D","cupRegion":"D","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"5e8eb00f-958a-440e-b98d-d3c0d7fc98c3","alpha2Code":"BB","alpha3Code":"BRB","shortName":"Barbados","status":"officially-assigned","kkCountryId":"19","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"3046521d-29d4-40f3-853e-3f401ead4807","alpha2Code":"BY","alpha3Code":"BLR","shortName":"Belarus","status":"officially-assigned","kkCountryId":"20","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"f1e88a22-8adc-4a00-bbb2-a99ec1b6ec39","alpha2Code":"BE","alpha3Code":"BEL","shortName":"Belgium","status":"officially-assigned","kkCountryId":"21","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"1823ccfc-72e0-4af3-bba7-74ef903f39c5","alpha2Code":"BZ","alpha3Code":"BLZ","shortName":"Belize","status":"officially-assigned","kkCountryId":"22","cupBranch":"O","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"05e40998-408c-474d-9d60-bc9d29780ef6","alpha2Code":"BJ","alpha3Code":"BEN","shortName":"Benin","status":"officially-assigned","kkCountryId":"23","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"76d1cd2b-973d-4f95-ae34-60dae74043da","alpha2Code":"BM","alpha3Code":"BMU","shortName":"Bermuda","status":"officially-assigned","kkCountryId":"24","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"d9890163-5116-4417-aff7-73eee8cf767b","alpha2Code":"BT","alpha3Code":"BTN","shortName":"Bhutan","status":"officially-assigned","kkCountryId":"25","cupBranch":"D","cupRegion":"D","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"2c1cf90a-805b-461b-a568-d5123004356a","alpha2Code":"BO","alpha3Code":"BOL","shortName":"Bolivia","status":"officially-assigned","kkCountryId":"26","cupBranch":"Q","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":true},{"id":"80dac76f-ee03-48f1-bbad-f2dd3a05b557","alpha2Code":"BA","alpha3Code":"BIH","shortName":"Bosnia and Herzegovina","status":"officially-assigned","kkCountryId":"241","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"83ded62f-d6fa-4269-8389-6bb6d3530551","alpha2Code":"BW","alpha3Code":"BWA","shortName":"Botswana","status":"officially-assigned","kkCountryId":"28","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"1f520814-af4f-4c4f-94ba-9d2f33b1c1f8","alpha2Code":"BV","alpha3Code":"BVT","shortName":"Bouvet Island","status":"officially-assigned","kkCountryId":"29","cupBranch":"NULL","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"3f620225-dde7-4487-a6a1-bb59b383a939","alpha2Code":"BR","alpha3Code":"BRA","shortName":"Brazil","status":"officially-assigned","kkCountryId":"30","cupBranch":"N","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"218df5a9-9145-46cd-927c-09d58d5f9dd5","alpha2Code":"IO","alpha3Code":"IOT","shortName":"British Indian Ocean Territory","status":"officially-assigned","kkCountryId":"31","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"874a057f-d7b0-413d-a102-b900fa63d3c7","alpha2Code":"BN","alpha3Code":"BRN","shortName":"Brunei Darussalam","status":"officially-assigned","kkCountryId":"32","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"f8fcfe8b-de4f-4249-82a9-b25c53f752a7","alpha2Code":"BG","alpha3Code":"BGR","shortName":"Bulgaria","status":"officially-assigned","kkCountryId":"33","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"825c267c-010c-4686-9e3a-8d9a102481d9","alpha2Code":"BF","alpha3Code":"BFA","shortName":"Burkina Faso","status":"officially-assigned","kkCountryId":"34","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"c64375a9-61b0-44d2-94de-43fc25389cfc","alpha2Code":"BI","alpha3Code":"BDI","shortName":"Burundi","status":"officially-assigned","kkCountryId":"35","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"f571cf28-91cb-4c0d-8a4b-debd3047ab42","alpha2Code":"KH","alpha3Code":"KHM","shortName":"Cambodia","status":"officially-assigned","kkCountryId":"36","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":true},{"id":"5ee10546-d2a4-40c8-b221-02baac2aceb7","alpha2Code":"CM","alpha3Code":"CMR","shortName":"Cameroon","status":"officially-assigned","kkCountryId":"37","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"df5651a0-e129-4f1b-b6ad-2f2dc1a61f70","alpha2Code":"CA","alpha3Code":"CAN","shortName":"Canada","status":"officially-assigned","kkCountryId":"38","cupBranch":"N","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"fb011ad1-74ca-4235-a7ba-5003ba82e3de","alpha2Code":"CV","alpha3Code":"CPV","shortName":"Cape Verde","status":"officially-assigned","kkCountryId":"39","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"f38f6d00-c96d-4362-b92f-8eb37b011f40","alpha2Code":"KY","alpha3Code":"CYM","shortName":"Cayman Islands","status":"officially-assigned","kkCountryId":"40","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"c0add3c3-c40b-4cda-b80f-acf3b8e0224e","alpha2Code":"CF","alpha3Code":"CAF","shortName":"Central African Republic","status":"officially-assigned","kkCountryId":"41","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"579966ba-d860-4886-94d0-e67d02f84a3e","alpha2Code":"TD","alpha3Code":"TCD","shortName":"Chad","status":"officially-assigned","kkCountryId":"42","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"b2179410-845b-4891-8e62-968eb7eb1b9e","alpha2Code":"IM","alpha3Code":"IMN","shortName":"Channel Islands, Isle of Man","status":"officially-assigned","kkCountryId":"243","cupBranch":"NULL","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"621336c2-1da9-432a-9c7b-d3d5839ed6ab","alpha2Code":"CL","alpha3Code":"CHL","shortName":"Chile","status":"officially-assigned","kkCountryId":"43","cupBranch":"N","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"296c1d80-767f-4036-912b-5f73422f1a22","alpha2Code":"CN","alpha3Code":"CHN","shortName":"China","status":"officially-assigned","kkCountryId":"44","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":1,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":true},{"id":"eb60ae74-39b7-4400-bf55-0d65502a6c73","alpha2Code":"CX","alpha3Code":"CXR","shortName":"Christmas Island","status":"officially-assigned","kkCountryId":"45","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"048a93ca-514c-42cc-b460-cf620e540eb0","alpha2Code":"CC","alpha3Code":"CCK","shortName":"Cocos (Keeling) Islands","status":"officially-assigned","kkCountryId":"46","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"93f3e798-c2b9-4240-be44-9e1b60e837cc","alpha2Code":"CO","alpha3Code":"COL","shortName":"Colombia","status":"officially-assigned","kkCountryId":"47","cupBranch":"Q","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"9b9db9aa-5411-4d1d-b663-f090006a0f07","alpha2Code":"KM","alpha3Code":"COM","shortName":"Comoros","status":"officially-assigned","kkCountryId":"48","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"893b2388-9613-4a21-b513-7cb3af28ca02","alpha2Code":"CG","alpha3Code":"COG","shortName":"Congo","status":"officially-assigned","kkCountryId":"49","cupBranch":"NULL","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"1f635c2a-859c-45e7-9c82-6b985d327344","alpha2Code":"CD","alpha3Code":"COD","shortName":"Congo, The Democratic Republic of the","status":"officially-assigned","kkCountryId":"242","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"e1b80aee-0209-4a3f-bbd1-eb7eaf5b8d4a","alpha2Code":"CK","alpha3Code":"COK","shortName":"Cook Islands","status":"officially-assigned","kkCountryId":"50","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"801c58d4-4ad9-42a6-867d-71e9aa0fa6fd","alpha2Code":"CR","alpha3Code":"CRI","shortName":"Costa Rica","status":"officially-assigned","kkCountryId":"51","cupBranch":"Q","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"7b6c730a-0a5a-4404-b790-98d5795ef876","alpha2Code":"CI","alpha3Code":"CIV","shortName":"Cote D'Ivoire","status":"officially-assigned","kkCountryId":"52","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"e223963e-bacb-4397-b9d4-a2b6089ed2df","alpha2Code":"HR","alpha3Code":"HRV","shortName":"Croatia","status":"officially-assigned","kkCountryId":"53","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"2b7a9450-97e2-482d-b493-dec2c8d6271a","alpha2Code":"CU","alpha3Code":"CUB","shortName":"Cuba","status":"officially-assigned","kkCountryId":"54","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":1,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"9c1673be-ad0d-4ace-beb1-bc90aa7aaa81","alpha2Code":"CY","alpha3Code":"CYP","shortName":"Cyprus","status":"officially-assigned","kkCountryId":"55","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"a882aa2a-0c36-463c-8bcc-f7a39b4afc30","alpha2Code":"CZ","alpha3Code":"CZE","shortName":"Czech Republic","status":"officially-assigned","kkCountryId":"56","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"2c65e5f6-06d7-47f5-96b1-a4de391bd665","alpha2Code":"DK","alpha3Code":"DNK","shortName":"Denmark","status":"officially-assigned","kkCountryId":"57","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"27fc0d3d-d582-408c-aba4-405b9d47561f","alpha2Code":"DJ","alpha3Code":"DJI","shortName":"Djibouti","status":"officially-assigned","kkCountryId":"58","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"0ca16a87-f6e1-4d66-b97a-a2b0d0c47a12","alpha2Code":"DM","alpha3Code":"DMA","shortName":"Dominica","status":"officially-assigned","kkCountryId":"59","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"e81463fc-6dca-4065-b460-3788de92c400","alpha2Code":"DO","alpha3Code":"DOM","shortName":"Dominican Republic","status":"officially-assigned","kkCountryId":"60","cupBranch":"Q","cupRegion":"Q","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"e36b7e41-87f5-4cf2-b989-e98cf2302c15","alpha2Code":"TP","alpha3Code":"TMP","shortName":"East Timor","status":"officially-assigned","kkCountryId":"61","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"0a3f7221-8e0b-4544-87aa-39d757fea3b8","alpha2Code":"EC","alpha3Code":"ECU","shortName":"Ecuador","status":"officially-assigned","kkCountryId":"62","cupBranch":"Q","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":true},{"id":"6f4e6491-3e03-4c7f-9150-7bfa50ee6432","alpha2Code":"EG","alpha3Code":"EGY","shortName":"Egypt","status":"officially-assigned","kkCountryId":"63","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"43351744-5158-4569-a9a8-946c9ac2245a","alpha2Code":"SV","alpha3Code":"SLV","shortName":"El Salvador","status":"officially-assigned","kkCountryId":"64","cupBranch":"O","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"7000fd0d-4dc6-4d1a-90fe-e5353a407af5","alpha2Code":"GQ","alpha3Code":"GNQ","shortName":"Equatorial Guinea","status":"officially-assigned","kkCountryId":"65","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"20a43d20-1135-4a18-8c6a-6bcd6f9793b1","alpha2Code":"ER","alpha3Code":"ERI","shortName":"Eritrea","status":"officially-assigned","kkCountryId":"66","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"be3990d4-098b-4294-ae25-5b5b5ad4079c","alpha2Code":"EE","alpha3Code":"EST","shortName":"Estonia","status":"officially-assigned","kkCountryId":"67","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"57314c79-55a8-4792-8365-6a2ba72a104a","alpha2Code":"ET","alpha3Code":"ETH","shortName":"Ethiopia","status":"officially-assigned","kkCountryId":"68","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"fa4b8ced-ff82-4ca9-9452-caad93f772fb","alpha2Code":"FK","alpha3Code":"FLK","shortName":"Falkland Islands (Malvinas)","status":"officially-assigned","kkCountryId":"69","cupBranch":"N","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"45c3a918-4f45-4640-b62e-5a41cb3a7f90","alpha2Code":"FO","alpha3Code":"FRO","shortName":"Faroe Islands","status":"officially-assigned","kkCountryId":"70","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"a2f4e53e-19ba-4795-83c6-616f537e57b3","alpha2Code":"FJ","alpha3Code":"FJI","shortName":"Fiji","status":"officially-assigned","kkCountryId":"71","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"865d0154-f45c-44f1-93f0-f2ea86ea51fc","alpha2Code":"FI","alpha3Code":"FIN","shortName":"Finland","status":"officially-assigned","kkCountryId":"72","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"05dd7d5d-8a87-43e0-85c7-8c759916e772","alpha2Code":"FR","alpha3Code":"FRA","shortName":"France","status":"officially-assigned","kkCountryId":"73","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"03497ee5-48ee-4cdc-b775-0ade025586d4","alpha2Code":"GF","alpha3Code":"GUF","shortName":"French Guiana","status":"officially-assigned","kkCountryId":"75","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"791e2817-e292-4258-beb9-2a6c94bb5d69","alpha2Code":"PF","alpha3Code":"PYF","shortName":"French Polynesia","status":"officially-assigned","kkCountryId":"76","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"bb9290d9-fb8e-4529-baf9-b27e5528980d","alpha2Code":"TF","alpha3Code":"ATF","shortName":"French Southern Territories","status":"officially-assigned","kkCountryId":"77","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"afaa83a3-f2db-4be0-bdca-5453f35f1ae7","alpha2Code":"GA","alpha3Code":"GAB","shortName":"Gabon","status":"officially-assigned","kkCountryId":"78","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"68325bad-f70d-4ffd-b67c-5de5ebdfecbd","alpha2Code":"GM","alpha3Code":"GMB","shortName":"Gambia","status":"officially-assigned","kkCountryId":"79","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"a9a68e5f-bb52-481d-bbe6-b652ac54f20d","alpha2Code":"GE","alpha3Code":"GEO","shortName":"Georgia","status":"officially-assigned","kkCountryId":"80","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"94230303-e27a-4c7e-83c0-59f3b65cb72b","alpha2Code":"DE","alpha3Code":"DEU","shortName":"Germany","status":"officially-assigned","kkCountryId":"81","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"40151893-12fb-4cc2-8564-33d43fcdb38b","alpha2Code":"GH","alpha3Code":"GHA","shortName":"Ghana","status":"officially-assigned","kkCountryId":"82","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"fcb90596-ccc1-4c0d-9c21-12786102ca92","alpha2Code":"GI","alpha3Code":"GIB","shortName":"Gibraltar","status":"officially-assigned","kkCountryId":"83","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"51d2507a-91a0-43cd-824b-a7cbd20bb1f6","alpha2Code":"GR","alpha3Code":"GRC","shortName":"Greece","status":"officially-assigned","kkCountryId":"84","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"30514745-a50b-448e-90d9-c3bf603f9218","alpha2Code":"GL","alpha3Code":"GRL","shortName":"Greenland","status":"officially-assigned","kkCountryId":"85","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"80e039ef-ccd8-4d9c-9651-01a75dbd2b18","alpha2Code":"GD","alpha3Code":"GRD","shortName":"Grenada","status":"officially-assigned","kkCountryId":"86","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"cb2cecc3-84ae-4a09-b0c5-1e2e94274264","alpha2Code":"GP","alpha3Code":"GLP","shortName":"Guadeloupe","status":"officially-assigned","kkCountryId":"87","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"187928f6-cd34-4669-b48a-077f7562c651","alpha2Code":"GU","alpha3Code":"GUM","shortName":"Guam","status":"officially-assigned","kkCountryId":"88","cupBranch":"N","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"3cf99d09-1a9d-4e56-b0ff-a3f886a242dd","alpha2Code":"GT","alpha3Code":"GTM","shortName":"Guatemala","status":"officially-assigned","kkCountryId":"89","cupBranch":"O","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"0c0bd020-ee8f-458b-84ba-c4969b8f3d9e","alpha2Code":"GG","alpha3Code":"GGY","shortName":"Guernsey","status":"officially-assigned","kkCountryId":"256","cupBranch":"NULL","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"05f3afe1-7c4f-4ca2-962d-0db4aa6b410c","alpha2Code":"GN","alpha3Code":"GIN","shortName":"Guinea","status":"officially-assigned","kkCountryId":"90","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"2f917b45-0301-4eca-bf2c-3644498bb848","alpha2Code":"GW","alpha3Code":"GNB","shortName":"Guinea-bissau","status":"officially-assigned","kkCountryId":"91","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"dcaf4941-7baa-41b4-9b00-3464cd91eff9","alpha2Code":"GY","alpha3Code":"GUY","shortName":"Guyana","status":"officially-assigned","kkCountryId":"92","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"c33a6cf0-d4fc-443d-b9e6-d42f630d1af2","alpha2Code":"HT","alpha3Code":"HTI","shortName":"Haiti","status":"officially-assigned","kkCountryId":"93","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"e6179487-b4ca-4d8f-92ab-a7864b84f85d","alpha2Code":"HM","alpha3Code":"HMD","shortName":"Heard and Mc Donald Islands","status":"officially-assigned","kkCountryId":"94","cupBranch":"NULL","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"d11f91c5-5187-4d08-b48d-9077a0768435","alpha2Code":"HN","alpha3Code":"HND","shortName":"Honduras","status":"officially-assigned","kkCountryId":"95","cupBranch":"O","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"b67c3d03-f527-4dbd-a07d-01a82bef1107","alpha2Code":"HK","alpha3Code":"HKG","shortName":"Hong Kong","status":"officially-assigned","kkCountryId":"96","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"47b97900-a473-4bf5-981b-9de200e6b34f","alpha2Code":"HU","alpha3Code":"HUN","shortName":"Hungary","status":"officially-assigned","kkCountryId":"97","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"614cb0b5-e364-44d9-8c58-ff8d88a58156","alpha2Code":"IS","alpha3Code":"ISL","shortName":"Iceland","status":"officially-assigned","kkCountryId":"98","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"bd34cc15-3c6e-40a6-a0d4-e5d564a28536","alpha2Code":"IN","alpha3Code":"IND","shortName":"India","status":"officially-assigned","kkCountryId":"99","cupBranch":"D","cupRegion":"D","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"87f30ea0-a22f-40b0-aeb6-6a35d7f32bf3","alpha2Code":"ID","alpha3Code":"IDN","shortName":"Indonesia","status":"officially-assigned","kkCountryId":"100","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"c01d7696-a9ab-4703-9e1a-78e5607d9352","alpha2Code":"IR","alpha3Code":"IRN","shortName":"Iran, Islamic Republic of","status":"officially-assigned","kkCountryId":"244","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":1,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"0ceb019d-6fbd-4deb-9f86-024807ca8aa2","alpha2Code":"IQ","alpha3Code":"IRQ","shortName":"Iraq","status":"officially-assigned","kkCountryId":"102","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"84740583-b333-4f4a-8a42-3a211eaa7af3","alpha2Code":"IE","alpha3Code":"IRL","shortName":"Ireland","status":"officially-assigned","kkCountryId":"103","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"979019bc-315b-4619-9a23-9eb96fa30b42","alpha2Code":"IL","alpha3Code":"ISR","shortName":"Israel","status":"officially-assigned","kkCountryId":"104","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"a0301abd-eeaf-4e34-b578-328b434dce05","alpha2Code":"IT","alpha3Code":"ITA","shortName":"Italy","status":"officially-assigned","kkCountryId":"105","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"a082a2fa-fece-4cda-978a-af61bb51f297","alpha2Code":"JM","alpha3Code":"JAM","shortName":"Jamaica","status":"officially-assigned","kkCountryId":"106","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"e0d7d043-51c6-4e34-8609-0f26b56bbaa3","alpha2Code":"JP","alpha3Code":"JPN","shortName":"Japan","status":"officially-assigned","kkCountryId":"107","cupBranch":"F","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"cf6cbfe5-435d-4f16-b202-b75935b9bfd1","alpha2Code":"JE","alpha3Code":"JEY","shortName":"Jersey","status":"officially-assigned","kkCountryId":"254","cupBranch":"NULL","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"301a18e0-a4ff-4454-b99a-1f7ddaf960fc","alpha2Code":"JO","alpha3Code":"JOR","shortName":"Jordan","status":"officially-assigned","kkCountryId":"108","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"a2be4056-1959-41fd-b83b-a1a6e6790668","alpha2Code":"KZ","alpha3Code":"KAZ","shortName":"Kazakhstan","status":"officially-assigned","kkCountryId":"109","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"8a09cfd7-9e32-461f-9814-51cf3d205afa","alpha2Code":"KE","alpha3Code":"KEN","shortName":"Kenya","status":"officially-assigned","kkCountryId":"110","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"0e97bf1b-5058-4bcf-9e56-e3e59ec097bf","alpha2Code":"KI","alpha3Code":"KIR","shortName":"Kiribati","status":"officially-assigned","kkCountryId":"111","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"f78723d2-da0d-4208-b398-d64225f3db40","alpha2Code":"KP","alpha3Code":"PRK","shortName":"Korea, Democratic People's Republic of","status":"officially-assigned","kkCountryId":"112","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":1,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"77f81edb-1401-4d4a-a221-6e17780dcc64","alpha2Code":"KR","alpha3Code":"KOR","shortName":"Korea, Republic of","status":"officially-assigned","kkCountryId":"113","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"e4f2006174dd3a2b0174f952ffbb141b","alpha2Code":"XK","alpha3Code":"UNK","shortName":"Kosovo","status":"officially-assigned","kkCountryId":"0","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"d309f426-ed06-491e-af88-ae18beb738d3","alpha2Code":"KW","alpha3Code":"KWT","shortName":"Kuwait","status":"officially-assigned","kkCountryId":"114","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"8be878e2-8c54-4b7c-b0b4-45f440cc39a4","alpha2Code":"KG","alpha3Code":"KGZ","shortName":"Kyrgyzstan","status":"officially-assigned","kkCountryId":"115","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"22b8d6c8-a08f-4ce2-b547-c075e7402d5d","alpha2Code":"LA","alpha3Code":"LAO","shortName":"Lao People's Democratic Republic","status":"officially-assigned","kkCountryId":"116","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"66842dc2-54f5-4545-8fe9-10825844cd0b","alpha2Code":"LV","alpha3Code":"LVA","shortName":"Latvia","status":"officially-assigned","kkCountryId":"117","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"f2344dfd-803e-438b-b83b-2d83411344f5","alpha2Code":"LB","alpha3Code":"LBN","shortName":"Lebanon","status":"officially-assigned","kkCountryId":"118","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":true},{"id":"cf97eb3b-a38a-4d0a-a86d-3c62af7cc102","alpha2Code":"LS","alpha3Code":"LSO","shortName":"Lesotho","status":"officially-assigned","kkCountryId":"119","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"0d696510-0141-46c3-a9dd-73032d1dc369","alpha2Code":"LR","alpha3Code":"LBR","shortName":"Liberia","status":"officially-assigned","kkCountryId":"120","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"e8da5281-6f13-4500-844c-af6e50a1817d","alpha2Code":"LY","alpha3Code":"LBY","shortName":"Libyan Arab Jamahiriya","status":"officially-assigned","kkCountryId":"121","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"9e30228c-05f0-465e-8227-9deb4392ec80","alpha2Code":"LI","alpha3Code":"LIE","shortName":"Liechtenstein","status":"officially-assigned","kkCountryId":"122","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"f18fcd58-f002-4a29-bddd-88ab368390e4","alpha2Code":"LT","alpha3Code":"LTU","shortName":"Lithuania","status":"officially-assigned","kkCountryId":"123","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"bf550d77-9986-49c0-bda6-f8df4a33731b","alpha2Code":"LU","alpha3Code":"LUX","shortName":"Luxembourg","status":"officially-assigned","kkCountryId":"124","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"6142574e-44d7-4df3-b80f-11e0a1ffa8e1","alpha2Code":"MO","alpha3Code":"MAC","shortName":"Macau","status":"officially-assigned","kkCountryId":"125","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"b61d957a-4d6a-46a1-9df6-eafbd496bcc4","alpha2Code":"MK","alpha3Code":"MKD","shortName":"Macedonia","status":"officially-assigned","kkCountryId":"247","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"f9c8f20a-0224-4405-a2b4-2dddeb899216","alpha2Code":"MG","alpha3Code":"MDG","shortName":"Madagascar","status":"officially-assigned","kkCountryId":"127","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"a1e24326-20ed-4e87-a4b5-852bcba55fc7","alpha2Code":"MW","alpha3Code":"MWI","shortName":"Malawi","status":"officially-assigned","kkCountryId":"128","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"55e049f1-34d1-4a72-84db-6b20eb50be32","alpha2Code":"MY","alpha3Code":"MYS","shortName":"Malaysia","status":"officially-assigned","kkCountryId":"129","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"b43dce9c-06f7-489e-b21b-1b581fd1b376","alpha2Code":"MV","alpha3Code":"MDV","shortName":"Maldives","status":"officially-assigned","kkCountryId":"130","cupBranch":"D","cupRegion":"D","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"f2186aa4-a2e6-472e-b953-e2cff11e723a","alpha2Code":"ML","alpha3Code":"MLI","shortName":"Mali","status":"officially-assigned","kkCountryId":"131","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"7a0ab8e8-39b3-4db9-bf76-fc6788ab0791","alpha2Code":"MT","alpha3Code":"MLT","shortName":"Malta","status":"officially-assigned","kkCountryId":"132","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"851a02c7-636d-4906-9178-375d5dca7138","alpha2Code":"MH","alpha3Code":"MHL","shortName":"Marshall Islands","status":"officially-assigned","kkCountryId":"133","cupBranch":"A","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"33938e2e-84d6-47f9-af01-6544c2556a5f","alpha2Code":"MQ","alpha3Code":"MTQ","shortName":"Martinique","status":"officially-assigned","kkCountryId":"134","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":true},{"id":"ee4f5569-bdd1-407b-957d-d1242217c485","alpha2Code":"MR","alpha3Code":"MRT","shortName":"Mauritania","status":"officially-assigned","kkCountryId":"135","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"9eab61a4-b4e2-4a36-a057-f5db49aea119","alpha2Code":"MU","alpha3Code":"MUS","shortName":"Mauritius","status":"officially-assigned","kkCountryId":"136","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"68048470-cbf1-46b1-8f48-69d4c29c111e","alpha2Code":"YT","alpha3Code":"MYT","shortName":"Mayotte","status":"officially-assigned","kkCountryId":"137","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"2870e1d0-f8d8-44fc-8b14-f7edb8503b86","alpha2Code":"MX","alpha3Code":"MEX","shortName":"Mexico","status":"officially-assigned","kkCountryId":"138","cupBranch":"O","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"7c3a61f7-61e4-4675-af2d-0e42f46cf477","alpha2Code":"FM","alpha3Code":"FSM","shortName":"Micronesia, Federated States of","status":"officially-assigned","kkCountryId":"139","cupBranch":"A","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"d6389849-d545-4980-99a2-541aa9b9ee17","alpha2Code":"MD","alpha3Code":"MDA","shortName":"Moldova, Republic of","status":"officially-assigned","kkCountryId":"140","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"379a1832-9838-44d1-b577-184ca5f5daff","alpha2Code":"MC","alpha3Code":"MCO","shortName":"Monaco","status":"officially-assigned","kkCountryId":"141","cupBranch":"NULL","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"cc8ff54a-a9e7-41f4-b3c6-f63599d081e1","alpha2Code":"MN","alpha3Code":"MNG","shortName":"Mongolia","status":"officially-assigned","kkCountryId":"142","cupBranch":"C","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"6d6467a5-7349-4779-b335-631dda710c21","alpha2Code":"ME","alpha3Code":"MNE","shortName":"Montenegro","status":"officially-assigned","kkCountryId":"246","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"a53aa839-afc4-4570-9d12-3733f9afd851","alpha2Code":"MS","alpha3Code":"MSR","shortName":"Montserrat","status":"officially-assigned","kkCountryId":"143","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"6db8c37d-c5a0-43db-812f-539c8ff3dd8a","alpha2Code":"MA","alpha3Code":"MAR","shortName":"Morocco","status":"officially-assigned","kkCountryId":"144","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":true},{"id":"730b89e1-8ee5-47cf-a292-28758e3a7f20","alpha2Code":"MZ","alpha3Code":"MOZ","shortName":"Mozambique","status":"officially-assigned","kkCountryId":"145","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"5ce552e1-eedc-4350-a4c6-f6a2898def41","alpha2Code":"MM","alpha3Code":"MMR","shortName":"Myanmar","status":"officially-assigned","kkCountryId":"146","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"63b3ee95-fe51-4901-a7ae-fc0bc2cd81df","alpha2Code":"NA","alpha3Code":"NAM","shortName":"Namibia","status":"officially-assigned","kkCountryId":"147","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"d3ae3784-58d2-48ee-a6f1-9749a339c902","alpha2Code":"NR","alpha3Code":"NRU","shortName":"Nauru","status":"officially-assigned","kkCountryId":"148","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"042203fb-c380-4c2b-8d90-f97239823d9f","alpha2Code":"NP","alpha3Code":"NPL","shortName":"Nepal","status":"officially-assigned","kkCountryId":"149","cupBranch":"D","cupRegion":"D","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"8623257e-9ce6-4fd7-aff5-1858ca8c1545","alpha2Code":"NL","alpha3Code":"NLD","shortName":"Netherlands","status":"officially-assigned","kkCountryId":"150","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"97a6b88a-5cea-4541-ad90-ea14531d1e89","alpha2Code":"AN","alpha3Code":"ANT","shortName":"Netherlands Antilles","status":"officially-assigned","kkCountryId":"151","cupBranch":"NULL","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"8129284e-e369-4380-be57-644541694140","alpha2Code":"NC","alpha3Code":"NCL","shortName":"New Caledonia","status":"officially-assigned","kkCountryId":"152","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"fa967094-29de-42a2-99e4-2a8deb0eecc3","alpha2Code":"NZ","alpha3Code":"NZL","shortName":"New Zealand","status":"officially-assigned","kkCountryId":"153","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":"Total (incl. GST)","sensitiveTerritory":false},{"id":"20c4ce92-62d7-447a-98e7-48722dbc7f8c","alpha2Code":"NI","alpha3Code":"NIC","shortName":"Nicaragua","status":"officially-assigned","kkCountryId":"154","cupBranch":"O","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"39d2607b-d95e-48bc-8722-9af51474faac","alpha2Code":"NE","alpha3Code":"NER","shortName":"Niger","status":"officially-assigned","kkCountryId":"155","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"0e6848ae-cbc9-4e95-8c06-193a6025a20a","alpha2Code":"NG","alpha3Code":"NGA","shortName":"Nigeria","status":"officially-assigned","kkCountryId":"156","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"825aee1c-2546-432c-a8ce-fe8533971658","alpha2Code":"NU","alpha3Code":"NIU","shortName":"Niue","status":"officially-assigned","kkCountryId":"157","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"798cfed5-ffd1-40d0-bd63-6ea5438b0511","alpha2Code":"NF","alpha3Code":"NFK","shortName":"Norfolk Island","status":"officially-assigned","kkCountryId":"158","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"e0ea495c-ad0d-4de3-a171-896216b1406a","alpha2Code":"MP","alpha3Code":"MNP","shortName":"Northern Mariana Islands","status":"officially-assigned","kkCountryId":"159","cupBranch":"NULL","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"acd087bf-0c83-4c18-83a7-b8d08cdfd5ac","alpha2Code":"NO","alpha3Code":"NOR","shortName":"Norway","status":"officially-assigned","kkCountryId":"160","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"6cafeb12-f2c3-46ef-b9e2-3e5eb010f605","alpha2Code":"OM","alpha3Code":"OMN","shortName":"Oman","status":"officially-assigned","kkCountryId":"161","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"92af6c5d-aa6e-4f19-8260-7a9965860a59","alpha2Code":"PK","alpha3Code":"PAK","shortName":"Pakistan","status":"officially-assigned","kkCountryId":"162","cupBranch":"D","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"cfbd5050-98fe-4def-a217-98cece6f0237","alpha2Code":"PW","alpha3Code":"PLW","shortName":"Palau","status":"officially-assigned","kkCountryId":"163","cupBranch":"NULL","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"bb3310cf-b407-416e-b3d9-523e2ce1d794","alpha2Code":"PS","alpha3Code":"PSE","shortName":"Palestinian Territory, Occupied","status":"officially-assigned","kkCountryId":"248","cupBranch":"NULL","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"e2f744c2-e5d0-491e-aa88-1421e18615bc","alpha2Code":"PA","alpha3Code":"PAN","shortName":"Panama","status":"officially-assigned","kkCountryId":"164","cupBranch":"Q","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":true},{"id":"2688a966-22e0-4d18-b5f0-c1e2e2ad65d0","alpha2Code":"PG","alpha3Code":"PNG","shortName":"Papua New Guinea","status":"officially-assigned","kkCountryId":"165","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"9f7b77ce-3572-417d-bbbf-22d90f13f704","alpha2Code":"PY","alpha3Code":"PRY","shortName":"Paraguay","status":"officially-assigned","kkCountryId":"166","cupBranch":"N","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":true},{"id":"4da3ee97-6df0-470d-98cf-562df8c8d164","alpha2Code":"PE","alpha3Code":"PER","shortName":"Peru","status":"officially-assigned","kkCountryId":"167","cupBranch":"Q","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"0f106ec3-9de4-4f85-bb09-26d7830bbdf4","alpha2Code":"PH","alpha3Code":"PHL","shortName":"Philippines","status":"officially-assigned","kkCountryId":"168","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"9c5b6ddf-210d-44ff-82b6-9ad51f915b83","alpha2Code":"PN","alpha3Code":"PCN","shortName":"Pitcairn","status":"officially-assigned","kkCountryId":"169","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"927b1ada-bf62-47c5-bbc0-df990fb2f818","alpha2Code":"PL","alpha3Code":"POL","shortName":"Poland","status":"officially-assigned","kkCountryId":"170","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"9b7febfc-d8ae-417c-9d43-e48a46dc4da8","alpha2Code":"PT","alpha3Code":"PRT","shortName":"Portugal","status":"officially-assigned","kkCountryId":"171","cupBranch":"I","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"7bdc01da-9217-4e89-9976-fa3c171419bd","alpha2Code":"PR","alpha3Code":"PRI","shortName":"Puerto Rico","status":"officially-assigned","kkCountryId":"172","cupBranch":"N","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":true},{"id":"988553d3-7531-425e-9de8-94e45fdd9d18","alpha2Code":"QA","alpha3Code":"QAT","shortName":"Qatar","status":"officially-assigned","kkCountryId":"173","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"3afbb3fb-e115-43d4-b08e-cf0924bd652e","alpha2Code":"RE","alpha3Code":"REU","shortName":"Reunion","status":"officially-assigned","kkCountryId":"174","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"a7590f7b-5da8-4887-aeee-f62ac89e7d73","alpha2Code":"RO","alpha3Code":"ROM","shortName":"Romania","status":"officially-assigned","kkCountryId":"175","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"927c85b7-545c-4c47-bf16-dece1a52bf76","alpha2Code":"RU","alpha3Code":"RUS","shortName":"Russian Federation","status":"officially-assigned","kkCountryId":"176","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":1,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"0142ee9b-ef89-4a7f-8e5d-1560f14a849d","alpha2Code":"RW","alpha3Code":"RWA","shortName":"Rwanda","status":"officially-assigned","kkCountryId":"177","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"26ae3d8f-411c-4617-9e9f-e0240920ccff","alpha2Code":"KN","alpha3Code":"KNA","shortName":"Saint Kitts and Nevis","status":"officially-assigned","kkCountryId":"178","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"30aacdef-10e4-43bb-bc98-4a6764cb1636","alpha2Code":"LC","alpha3Code":"LCA","shortName":"Saint Lucia","status":"officially-assigned","kkCountryId":"179","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"8a4e3f48-2458-4cd1-ade0-36e6a51d3508","alpha2Code":"VC","alpha3Code":"VCT","shortName":"Saint Vincent and the Grenadines","status":"officially-assigned","kkCountryId":"180","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"40904289-77be-48b6-94fc-962f1f4af37d","alpha2Code":"WS","alpha3Code":"WSM","shortName":"Samoa","status":"officially-assigned","kkCountryId":"181","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"697b639c-700f-4829-aafd-0aef39d0b2ae","alpha2Code":"SM","alpha3Code":"SMR","shortName":"San Marino","status":"officially-assigned","kkCountryId":"182","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"620b7524-57af-4fc6-a18d-84983311633b","alpha2Code":"ST","alpha3Code":"STP","shortName":"Sao Tome and Principe","status":"officially-assigned","kkCountryId":"183","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"831a8227-0d4c-4bef-991b-d81f06aafbf4","alpha2Code":"SA","alpha3Code":"SAU","shortName":"Saudi Arabia","status":"officially-assigned","kkCountryId":"184","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"0927ed95-6d83-450f-b038-f2960f2dad79","alpha2Code":"SN","alpha3Code":"SEN","shortName":"Senegal","status":"officially-assigned","kkCountryId":"185","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"d99ef40c-1a85-4077-881d-2f4c7c6f3046","alpha2Code":"RS","alpha3Code":"SRB","shortName":"Serbia","status":"officially-assigned","kkCountryId":"249","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"7bb7c2ce-5a84-4f0b-9ed4-d054ff932a0d","alpha2Code":"SC","alpha3Code":"SYC","shortName":"Seychelles","status":"officially-assigned","kkCountryId":"186","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"5ae5bac7-79d4-4073-9f1f-7e9961b85b52","alpha2Code":"SL","alpha3Code":"SLE","shortName":"Sierra Leone","status":"officially-assigned","kkCountryId":"187","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"bc064ea8-099f-4a8a-a386-48431dabd194","alpha2Code":"SG","alpha3Code":"SGP","shortName":"Singapore","status":"officially-assigned","kkCountryId":"188","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"84e588f5-00f9-4992-a722-8bd05a47a68a","alpha2Code":"SK","alpha3Code":"SVK","shortName":"Slovakia","status":"officially-assigned","kkCountryId":"250","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"ec5419a0-4f83-46e5-9f14-653580687402","alpha2Code":"SI","alpha3Code":"SVN","shortName":"Slovenia","status":"officially-assigned","kkCountryId":"190","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"e034000d-6fb7-4420-a23e-09af7c2ef1a5","alpha2Code":"SB","alpha3Code":"SLB","shortName":"Solomon Islands","status":"officially-assigned","kkCountryId":"191","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"b4e18b13-68f5-4680-b634-c03793a9287b","alpha2Code":"SO","alpha3Code":"SOM","shortName":"Somalia","status":"officially-assigned","kkCountryId":"192","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"11227fdf-051a-4520-89ef-315a5a39ec16","alpha2Code":"ZA","alpha3Code":"ZAF","shortName":"South Africa","status":"officially-assigned","kkCountryId":"193","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"2605c280-574a-4670-bb14-93f0ee29063f","alpha2Code":"GS","alpha3Code":"SGS","shortName":"South Georgia and the South Sandwich Islands","status":"officially-assigned","kkCountryId":"194","cupBranch":"N","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"e4f2006174dd3a2b0174f94f00cc140b","alpha2Code":"SS","alpha3Code":"SSD","shortName":"South Sudan","status":"officially-assigned","kkCountryId":"0","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"27f58fe2-7c39-486f-ac6a-26da3b68225b","alpha2Code":"ES","alpha3Code":"ESP","shortName":"Spain","status":"officially-assigned","kkCountryId":"195","cupBranch":"I","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"9fe0fd0a-27d6-4723-8ceb-eaf40b45f064","alpha2Code":"LK","alpha3Code":"LKA","shortName":"Sri Lanka","status":"officially-assigned","kkCountryId":"196","cupBranch":"D","cupRegion":"D","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"8740a5ed-79e0-42a5-9769-6e6f035ff78b","alpha2Code":"SH","alpha3Code":"SHN","shortName":"St. Helena","status":"officially-assigned","kkCountryId":"197","cupBranch":"NULL","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"16b75816-519b-43d4-81a4-10292ea39d1a","alpha2Code":"PM","alpha3Code":"SPM","shortName":"St. Pierre and Miquelon","status":"officially-assigned","kkCountryId":"198","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"5d27adfe-e461-4a2e-8703-5ec9ac6c1241","alpha2Code":"SD","alpha3Code":"SDN","shortName":"Sudan","status":"officially-assigned","kkCountryId":"199","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"6a7a0bf9-1b4d-4cc9-bf4f-fcef994b6716","alpha2Code":"SR","alpha3Code":"SUR","shortName":"Suriname","status":"officially-assigned","kkCountryId":"200","cupBranch":"Q","cupRegion":"Q","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"874d22e5-1e92-4125-87ab-3471711ee562","alpha2Code":"SJ","alpha3Code":"SJM","shortName":"Svalbard and Jan Mayen Islands","status":"officially-assigned","kkCountryId":"201","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"233630f3-d0d7-46df-836b-cef65edd0705","alpha2Code":"SZ","alpha3Code":"SWZ","shortName":"Swaziland","status":"officially-assigned","kkCountryId":"202","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"161e0c12-5539-472d-8681-47d12e0f7c87","alpha2Code":"SE","alpha3Code":"SWE","shortName":"Sweden","status":"officially-assigned","kkCountryId":"203","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"e418e58e-6977-42f0-90f9-1edeb74c9620","alpha2Code":"CH","alpha3Code":"CHE","shortName":"Switzerland","status":"officially-assigned","kkCountryId":"204","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"970c958c-d257-4243-996c-5cf54a892450","alpha2Code":"SY","alpha3Code":"SYR","shortName":"Syrian Arab Republic","status":"officially-assigned","kkCountryId":"205","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":1,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"bb572853-7dfb-45b9-8d72-5d65f614e2d1","alpha2Code":"TW","alpha3Code":"TWN","shortName":"Taiwan","status":"officially-assigned","kkCountryId":"206","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":true},{"id":"115100c9-86b0-481e-9960-b19253485425","alpha2Code":"TJ","alpha3Code":"TJK","shortName":"Tajikistan","status":"officially-assigned","kkCountryId":"207","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"43093a64-4dfb-49a0-ac35-a81d3ba8680d","alpha2Code":"TZ","alpha3Code":"TZA","shortName":"Tanzania, United Republic of","status":"officially-assigned","kkCountryId":"208","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"9de26d08-cbd0-46dd-95c3-d26c11b91ad9","alpha2Code":"TH","alpha3Code":"THA","shortName":"Thailand","status":"officially-assigned","kkCountryId":"209","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"e4f2006174dd3a2b0174f938e23413f1","alpha2Code":"TL","alpha3Code":"TLS","shortName":"Timor-Leste","status":"officially-assigned","kkCountryId":"0","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"396a394b-48bd-491d-8783-8e92c49cbf9c","alpha2Code":"TG","alpha3Code":"TGO","shortName":"Togo","status":"officially-assigned","kkCountryId":"210","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"c0ea7925-a0ec-4827-b13d-d7dc3666132a","alpha2Code":"TK","alpha3Code":"TKL","shortName":"Tokelau","status":"officially-assigned","kkCountryId":"211","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"7f008c68-9ed3-444d-9fb7-fdcd6def32e8","alpha2Code":"TO","alpha3Code":"TON","shortName":"Tonga","status":"officially-assigned","kkCountryId":"212","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"6cc3a480-5cc3-4aaa-b464-3a4638710353","alpha2Code":"TT","alpha3Code":"TTO","shortName":"Trinidad and Tobago","status":"officially-assigned","kkCountryId":"213","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"f8df523a-eb8b-4971-b5c0-d46bfc28d25e","alpha2Code":"TN","alpha3Code":"TUN","shortName":"Tunisia","status":"officially-assigned","kkCountryId":"214","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"c92bc644-fdae-4111-9393-78a5d845a49d","alpha2Code":"TR","alpha3Code":"TUR","shortName":"Türkiye","status":"officially-assigned","kkCountryId":"215","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"63efbcff-1e4b-4821-99c1-d67174df50db","alpha2Code":"TM","alpha3Code":"TKM","shortName":"Turkmenistan","status":"officially-assigned","kkCountryId":"216","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"560a128b-dabd-411b-ab88-2c3718176995","alpha2Code":"TC","alpha3Code":"TCA","shortName":"Turks and Caicos Islands","status":"officially-assigned","kkCountryId":"217","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"48917d67-0131-4a0d-ba34-34b7844e4f99","alpha2Code":"TV","alpha3Code":"TUV","shortName":"Tuvalu","status":"officially-assigned","kkCountryId":"218","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"63c2a03c-2ef3-427d-8fc4-1c5fdd81cb28","alpha2Code":"UG","alpha3Code":"UGA","shortName":"Uganda","status":"officially-assigned","kkCountryId":"219","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"a25acd1f-1576-4eed-99f3-e690fa8fcdaf","alpha2Code":"UA","alpha3Code":"UKR","shortName":"Ukraine","status":"officially-assigned","kkCountryId":"220","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"5b7988cb-c044-4d74-9eda-3262b689088f","alpha2Code":"AE","alpha3Code":"ARE","shortName":"United Arab Emirates","status":"officially-assigned","kkCountryId":"221","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"ba985020-38b1-45d7-89bd-fc95a625e0c7","alpha2Code":"GB","alpha3Code":"GBR","shortName":"United Kingdom","status":"officially-assigned","kkCountryId":"222","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"a22b6cd6-8a7d-404a-bfc3-f28fe1cc9df1","alpha2Code":"US","alpha3Code":"USA","shortName":"United States","status":"officially-assigned","kkCountryId":"223","cupBranch":"N","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"230a425e-b19e-47ae-b07f-e6418807972b","alpha2Code":"UM","alpha3Code":"UMI","shortName":"United States Minor Outlying Islands","status":"officially-assigned","kkCountryId":"224","cupBranch":"N","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"9379fd2c-ce6c-458c-b61d-8a554732ce5c","alpha2Code":"VI","alpha3Code":"VIR","shortName":"United States Virgin Islands","status":"officially-assigned","kkCountryId":"253","cupBranch":"N","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"d282e488-3ecc-45ab-b72c-81dc0c885956","alpha2Code":"UY","alpha3Code":"URY","shortName":"Uruguay","status":"officially-assigned","kkCountryId":"225","cupBranch":"N","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"183122de-4fd8-4b1d-821d-ab89ddd09811","alpha2Code":"UZ","alpha3Code":"UZB","shortName":"Uzbekistan","status":"officially-assigned","kkCountryId":"226","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"9971d148-7a5b-454e-ac18-3c19822988b3","alpha2Code":"VU","alpha3Code":"VUT","shortName":"Vanuatu","status":"officially-assigned","kkCountryId":"227","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"6475d530-8e6d-4abd-a7f0-f4b382cb6db2","alpha2Code":"VA","alpha3Code":"VAT","shortName":"Vatican City","status":"officially-assigned","kkCountryId":"251","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"EUR","ecommLabel":null,"sensitiveTerritory":false},{"id":"9a5b0169-d1c8-4c10-8fa2-32b4ecac4987","alpha2Code":"VE","alpha3Code":"VEN","shortName":"Venezuela","status":"officially-assigned","kkCountryId":"229","cupBranch":"Q","cupRegion":"N","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"745aab4b-9973-41c0-917f-0638e51f3b57","alpha2Code":"VN","alpha3Code":"VNM","shortName":"Vietnam","status":"officially-assigned","kkCountryId":"252","cupBranch":"E","cupRegion":"E","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"9db772a9-22f5-43a9-b935-68ceb56a5a1c","alpha2Code":"VG","alpha3Code":"VGB","shortName":"Virgin Islands (British)","status":"officially-assigned","kkCountryId":"231","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"7bb4a17e-0a63-4141-9e19-b7851eb72937","alpha2Code":"WF","alpha3Code":"WLF","shortName":"Wallis and Futuna Islands","status":"officially-assigned","kkCountryId":"233","cupBranch":"A","cupRegion":"A","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"4a6f26bc-75ad-4d14-a9b8-689a4ec2c55d","alpha2Code":"EH","alpha3Code":"ESH","shortName":"Western Sahara","status":"officially-assigned","kkCountryId":"234","cupBranch":"NULL","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false},{"id":"9e2e344d-f7e3-4ae6-b10c-7f9acd4e7d16","alpha2Code":"YE","alpha3Code":"YEM","shortName":"Yemen","status":"officially-assigned","kkCountryId":"235","cupBranch":"C","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"USD","ecommLabel":null,"sensitiveTerritory":false},{"id":"d0a991ff-3d63-4e93-9f2f-09261a2a874c","alpha2Code":"ZM","alpha3Code":"ZMB","shortName":"Zambia","status":"officially-assigned","kkCountryId":"238","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":0,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":true},{"id":"1f6641ed-117b-4cc6-8880-09b4eb72ae4c","alpha2Code":"ZW","alpha3Code":"ZWE","shortName":"Zimbabwe","status":"officially-assigned","kkCountryId":"239","cupBranch":"R","cupRegion":"C","regionCodes":[],"embargoedCountryDigital":0,"embargoedCountryPhysical":1,"currency":"GBP","ecommLabel":null,"sensitiveTerritory":false}]}</script> </div> <platform-footer id='platform-footer-wc' platform='core' env='prod' class='platform-footer-wc' is-preview='false' style="display: none" ></platform-footer> <script> const platformFooter = $('#platform-footer'); const platformFooterWc = $('#platform-footer-wc'); platformFooterWc.prop('initialData', window.__PLATFORM_FOOTER_DATA__); platformFooterWc.on('initialized', function () { platformFooter.hide(); platformFooterWc.show(); }); platformFooterWc.on('update-location', function (event) { $.post(AOP.baseUrl + '/services/country/override', { countryCode: event.originalEvent.detail[0].alpha2Code }, function () { window.location.reload(); window.scrollTo(0, document.body.scrollHeight); // scroll the bottom of the page }) }) </script> <script src="/core/system/public/bower_components/foundation/js/foundation.js"></script> <script src="/core/cambridge-core/public/bower_components/jquery-lazy/jquery.lazy.min.js"></script> <script src="/core/cambridge-core/public/js/plugins/jquery.autocomplete.min.js"></script> <script src="/core/cambridge-core/public/js/plugins/slick.min.js"></script> <script src="/core/cambridge-core/public/js/plugins/jquery.qtip.min.js"></script> <script src="/core/cambridge-core/public/js/plugins/foggy.min.js"></script> <script src="/core/cambridge-core/public/js/plugins/jquery.cookie.js"></script> <script src="/core/cambridge-core/public/js/plugins/jquery.textresizer.min.js"></script> <script src="/core/cambridge-core/public/js/plugins/chosen.jquery.min.js"></script> <script src="/core/cambridge-core/public/js/plugins/jquery.sticky.js"></script> <script type="text/javascript"> var AOP = AOP || {}; </script>   <script type="text/javascript" language="javascript"> window.AOP = window.AOP || {}; window.AOP.pageId = ''; window.AOP.baseUrl = '/core'; window.AOP.env = 'prod'; window.AOP.shouldUseCitationTool = true; </script> <script src="/core/system/public/js/foundationUtils.js" language="javascript" type="text/javascript"></script> <script src="/core/system/public/js/confirmModal.js" language="javascript" type="text/javascript"></script> <script src="/core/system/public/js/trimWhitespace.js" language="javascript" type="text/javascript"></script> <script src="/core/system/public/js/loadScript.js" language="javascript" type="text/javascript"></script> <script src="/core/system/public/js/isArray.js"></script> <script src="/core/system/public/js/parseQuerystring.js"></script> <script src="/core/system/public/js/createAlertBox.js"></script> <script src="/core/system/public/js/countryPicker.js"></script> <div id="confirmModalWrapper"> <div id="confirm-modal" class="reveal-modal small" data-reveal role="dialog" aria-labelledby="confirmModalHeader"> <div class="wrapper"> <h1 class="title" id="confirmModalHeader"></h1> <div class="row"> <div class="large-12 columns"> <div class="panel callout message"> </div> </div> </div> <div class="row margin-top"> <div class="small-12 large-6 columns"><a href="#" class="right small button radius transparent cancel">Cancel</a></div> <div class="small-12 large-6 columns"><a href="#" class="left small radius button blue confirm">Confirm</a></div> </div> </div> <a href="#" class="close-reveal-modal"><span aria-hidden="true">×</span></a> </div> </div> <script src="/aca/shared-elements/platform-header-footer.umd.js" language="javascript"></script> <script src="/core/cambridge-core/public/js/ecommerce/add-to-basket.js?v=v7.337.1-hotfix" language="javascript"></script> <script src="/core/system/public/js/validation.js" language="javascript" type="text/javascript"></script> <script src="/core/system/public/js/revealModal.js" language="javascript" type="text/javascript"></script>   <script type="text/javascript" language="javascript"> window.AOP = window.AOP || {}; window.AOP.webTrendsFpcdom = ''; window.AOP.webtrendsSourceId = ''; window.AOP.oracleInfinityAccountId = ''; window.AOP.isInternalTraffic = false; </script> <script src="/core/cambridge-core/public/js/jquery-extend.js?v=v7.337.1-hotfix"></script> <script src="/core/cambridge-core/public/js/additional.js?v=v7.337.1-hotfix"></script> <script src="/core/cambridge-core/public/js/multilingual.js?v=v7.337.1-hotfix"></script> <script src="/core/cambridge-core/public/js/analytics/cup-events.js?v=v7.337.1-hotfix"></script> <script src="/core/cambridge-core/public/js/app.js?v=v7.337.1-hotfix"></script> <script src="/core/cambridge-core/public/js/accessibility.js?v=v7.337.1-hotfix"></script> <script src="/core/cambridge-core/public/js/analytics/listeners/counter.js?v=v7.337.1-hotfix"></script> <script src="/core/cambridge-core/public/js/ga-events.js?v=v7.337.1-hotfix"></script> <script type="text/javascript"> $(document).ready(function () { if (typeof $(document).cupEvent === 'function') { $(document).cupEvent(); } AOP.initCounterReporter({ apiKey: 'qzD90fb0r257ZKVtGSFnG3UucyyMdgvu8u250Fa0', apiUrl: 'https://usage.prod.aop.cambridge.org/v1/events', applicationId: '8a94020952a738f80152b223c992000b', identities: [], authenticationMethods: [], sessionId: '2x3XIc3lzAuP9XVQd0oa99Zmp7nPu4LO', eventContext: '/core/elements/heritage-and-transformation-of-an-african-popular-music/E8A1EAEE4FB07A976F3F5BA276E6339C' }) }); </script> <script>(function(){function c(){var b=a.contentDocument||a.contentWindow.document;if(b){var d=b.createElement('script');d.innerHTML="window.__CF$cv$params={r:'8e8fd3b259b0ce75',t:'MTczMjY4NjQ4Mi4wMDAwMDA='};var a=document.createElement('script');a.nonce='';a.src='/cdn-cgi/challenge-platform/scripts/jsd/main.js';document.getElementsByTagName('head')[0].appendChild(a);";b.getElementsByTagName('head')[0].appendChild(d)}}if(document.body){var a=document.createElement('iframe');a.height=1;a.width=1;a.style.position='absolute';a.style.top=0;a.style.left=0;a.style.border='none';a.style.visibility='hidden';document.body.appendChild(a);if('loading'!==document.readyState)c();else if(window.addEventListener)document.addEventListener('DOMContentLoaded',c);else{var e=document.onreadystatechange||function(){};document.onreadystatechange=function(b){e(b);'loading'!==document.readyState&&(document.onreadystatechange=e,c())}}}})();</script></body> </html>