INDEX
Abasto Hotel, 232–35
Abbasid Empire, 170–73
Abiodun, Nehanda, 217–18
Abstract/Vision and Humanity (desi rap
artists), 298
Ackerman, Chantal, 107
Acosta, Leonardo, 159n35
Acquaye, Saka, 349
Adeleke, Adebisi, 345
Adorno, Theodor, 3–4, 6
affect, circulation of things and, 47
Af ghanistan, cold war politics and, 198–99
Africa: anticolonial music in, 269–84;
circulation of music from, 66, 89n13;
colonialism in, 350–51; Cuban involvement
in, 216; Cuban music in, 40, 89n13;
Euro- western music and colonization of,
18–19, 335–51; hip hop music and, 215–23;
Moten Barnett’s travels to, 118; origins of
music in, 270, 340–45; roots of jazz music
in, 143–48, 160n49; tonality as colonizing
force in music of, 334–51
African American music: African diaspora
and, 118–21; Asian jazz cir cuit and, 56–63;
cigarettes and jazz and, 47–63; commodifi-
cation of, 37–38, 292–93; Cuban hip hop
and, 210–23; hip hop genre and, 212–23,
293–310; history of slavery and, 101;
imperial influences on, 5–6; racial
hierarchies of music ability, ste reotypes of,
7–8; in Shanghai cabaret culture, 48–51,
56–63; social constitution of, 9
“African Dawn” (Fodeba), 279–80
African diaspora: African American music
and, 118–21; anticolonial music and, 277–84;
in Argentina and Uruguay, 239–43, 244n22;
brass bands and, 341–42; cold war politics
and, 194–207; Cuban culture and, 220–23;
lit er a ture of, 281–84, 288n55; schizochronia
and, 144–48
“African Must Be Free by 1983” (song), 195
African National Congress, 29, 194, 206
African Polyphony and Polyrhythm (Arom), 344
African Rhythm and African Sensibility
(Chernoff ), 274
Afro- Cuban culture, 144–48, 211–23
afterlife (el más allá) and, 107–10
Agawu, Kofi, 18, 35, 273, 334–51
Aguilar, Arnulfo, 16, 95–96, 99–101, 103, 110
Air Hostess (Kongzhong xiaojie) (film), 70,
74–77, 86–87
Alba, Marinieves, 218
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