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Acknowledgments | ||
Preface | ||
Orthographic Note | ||
Ch. 1 | "Hyenas Do Not Sleep Together": The Interpretation of Basotho Migrants' Auriture | 1 |
Ch. 2 | "The Mouth of a Commoner Is Not Listened To": Power, Performance, and History | 30 |
Ch. 3 | "Greetings, Child of God!": Generations of Travelers and Their Songs | 65 |
Ch. 4 | "An Initiation Secret Is Not Told at Home": The Making of a Country Traveler | 90 |
Ch. 5 | "These Mine Compounds, I Have Long Worked Them": Auriture and Migrants' Labors | 118 |
Ch. 6 | "I'd Rather Die in the Whiteman's Land": The Traveling Women of Eloquence | 150 |
Ch. 7 | "My Heart Fights with My Understanding": Bar Women's Auriture and Basotho Popular Culture | 178 |
Ch. 8 | "Eloquence Is Not Stuck on Like a Feather": Sesotho Aural Composition and Aesthetics | 201 |
Ch. 9 | "Laughter Is Greater than Death": Migrants' Songs and the Meaning of Sesotho | 242 |
Appendix One | 263 | |
Appendix Two | 270 | |
References | 281 | |
Index | 293 |
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Add In the Time of Cannibals: The Word Music of South Africa's Basotho Migrants, The workers who migrate from Lesotho to the mines and cities of neighboring South Africa have developed a rich genre of sung oral poetry--word music--that focuses on the experiences of migrant life. This music provides a culturally reflexive and conscious, In the Time of Cannibals: The Word Music of South Africa's Basotho Migrants to the inventory that you are selling on WonderClubX
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Add In the Time of Cannibals: The Word Music of South Africa's Basotho Migrants, The workers who migrate from Lesotho to the mines and cities of neighboring South Africa have developed a rich genre of sung oral poetry--word music--that focuses on the experiences of migrant life. This music provides a culturally reflexive and conscious, In the Time of Cannibals: The Word Music of South Africa's Basotho Migrants to your collection on WonderClub |