Description
Book SynopsisTrade Review"Everything Is Sampled deploys the idea of production in deft and thoughtful manners to think together African arts, the integrity of the discrete aesthetic phenomenon, and the historical matrix within which aesthetic objects gain life. Everything Is Sampled adopts and rechannels terms implicated in the workings of text-making practices like curation, translation, media and modes (streaming technologies included), to establish patterns of changes and regularities in drama, film, video, poetry, and art installation. Individuals interested in lucid cultural analysis ought to find the eminently accessible style of presentation very appealing."—Adeleke Adeeko, Ohio State University
"Everything Is Sampled will make significant contributions to African literary and cultural studies, postcolonial studies, and world literature studies. It's central objects of analysis extend over an impressively wide range of artistic productions in sub-Saharan Africa, from the mid twentieth-century to the contemporary moment of globalization and digital culture. This unusual capaciousness is risky but exciting. Adesokan's work takes on this ambitious task with a flair that is at once substantive and stylistic."—Olakunle George, Brown University
Table of ContentsPreface
Acknowledgments
Introduction: The New Terrains of African Arts and Letters
Part One: Shifting Margins
1. Modes of Creative Practice
2. Spatial Assemblages: Festivals as Curation
Part Two: Across the Digital Divide
3. The Griot's Compositions in Time
4. Adaptation or Remake: New Formats for Old Prints
5. Approaching the World as Platform, Literally
6. The Remix: Of New Identities and Technologies of Reuse
Epilogue: In Relative Account
Appendix
Notes
Bibliography
Index
